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h: ^ isr iD-B o o k: 

OP 

MANLY SPOETS, 



BY 



GEO. H. BENEDICT, 

(Champion Club-Swinger and Boxer, and Manager of thi 
Chicago Olympic Club.) 



GIVING FULL INSTRUCTIONS IN THE ARTS OF 

Boxing, Fencing, Wrestling, 

cj ^ CLUB-SWHSTGII^G, 

Dumb Bell and Gymnastic Exercises, Swimming, Etc. 



Containing Over 250 Illustrations, 

Showing How Everyone Can Develop Strength, Skill and Health. 



Entered according- to Act of Congress, in the vear 1SS3, by Geo. II. Benedict, in 
the office of the Librarian of Congress, at Wasliington,: D, C. 



CHICAGO: _ , lO.^li-'i.'ia' 

A. G. SPALDING & BROS., PUBLISHERS, «.. / 



Madison Street. 



-^^eoncencs.-^ 



Introduction 7 

Exercise and Health 8 

BOXING. 

Seventy-Six Illustrations.. 9 to 38 

The Arm 9 

The Feet 10 

The Head 10 

The Body ..10 

Getting in Time 11 

Getting in Distance 11 

Feinting 11 

The Blows 11 

Shaking Hands 12 

Position on Guard 13 

Face Blows 13 

Body Blows 15 

Counter s 16 

Ducks ...18 

Upper-Cuts 29 

Chancery Holds 30 

In-Fighting 30 

Wrestling 36 

Table of Opposition 36 

How to Practice .38 

How TO Set-to 39 

CLUB SWINGING. 

Forty Illustrations ..40 to 74 

Single Movements 40 

Principles of Club-Swinging 41 

Double Movements .' 60 

Exercises 71 



DUMB-BELL EXERCISES. 
NiNK Illustrations 75 to 78 

FENCING. 

Twenty-one Illustrations 78 to 96 

Remarks 78 

Positions ..79 

The Attack 81 

The Defence 81 

The Maneuvers." ...85 to 95 

Practice Exercise 95 

Rules for Beginners ^96 

GYMNASTIC EXERCISES. 

flfty-seven illustrations 97 to i05 

Horizontal Bar 97 

Parallel Bars ,100 

Flying Rings loi 

Vaulting Rings 103 

Flying Trapeze .104 

TUMBLING. 
Fourteen Illustrations 106 to 108 

SWIMMING. 
Thirteen Illustrations 108 to 110 

ATHLETIC SPORTS. 

Sprinting no 

Quarter-Mile Race i[i 

Mile Race in 

Hurdle Race ^ _.ii2 

Jumping 112 

Pole Jumpinc; 113 

Throwing the Hammer 114 

Putting the Shot 114 

Throwing the Base Ball 115 

Tossing the Caber 115 

Hare and Hounds. --I15 

Walking 117 

Dress.. ..117 

What to Attempt _ iiS 



INTRODUCTION. 



In presenting this little volume to the public, the object of the 
author is, to convey a practical knowledge of those exercises wiiich 
are most beneticial and popular; selecting only such as require inex- 
pensive apparatus and which can be used in an ordinary room or yard. 

It will be found also, that they are such as combine, to a consider- 
able extent, exhilaration of the mind, with invigoration of the body. 

Being well aware of the difficulty of teaching anything of the kind 
on paper, the author has aimed to give acoun/itnt-nsive and reliable 
manual of the advanced science of these exercises, with a simplicity 
of language, and common sense system of practice which will be 
readily understood; relying more on the number, style and character 
of the engravings than verbosity, self-adulation or the recital of vic- 
torious encounters. 

A great desire exists among those interested in physical culture, to 
acquire a correct knowledge of these beneficial exercises, and we hope 
that this record of personal experience, may add something to the gen- 
eral information on the subject. It may perhaps be the means of sav- 
ing beginners, from the difficulties which beset our own course when 
entering upon the practice. 

7 



8 

EXEKCISE. 

We do not fear contradiction, in asserting that manly sports, mirth, 
pastimes, and active exercise, are the physical laws of nature; and that 
without due regard to thein, man cannot attain the perfection of his 
nature. The union of health, strength and beauty in the human form 
is considered the greatest of all blessings, and these can only be ob- 
tained by a judicious exercise of all the powers of the mind and body, 
acting in harmony. In fact, exercise within proper limits improves 
and develops the muscular system, regulates the functions of the or- 
ganism and refines tiie senses ; giving increased strength, improved di- 
gestion, steady nerves, and cheerfulness. It will give grace to the car- 
riage and increase the powers of endurance. Exercise is as necessary 
to good health, as food or air, and we believe that without the stimulus 
of exhilarating exercise, perfect bodily health is as impossible as mor- 
al or mental vigor. 

HEALTH. 

Persons in health are apt to think of illness as something disagree- 
able, but about which they need not trouble themselves*, until it troub- 
les them. Having full confidence in the doctor and his prescription, 
future disease has no terrors. Health can be preserved by exercise 
alone. Drugs are not wholly useless, but excepting in cases of conta- 
gious diseases, it is better to direct our efforts against the cause, rather 
than the effect. In a work of this kind it is only possible to but briefly 
notice certain essentials to the care of health. 

DIET. Late hours and late meals should be avoided. Simple 
food, without spices or stimulants, should be regularly taken, and in 
moderate quantities. 

PURE AIR. Health requires that we breath the same air once 
only. Thorough ventilation of the house and place of business, and 
especially the sleeping rooms, should be attended to. 

CLOTHING. An equal temperature of the body should be main- 
tained by exercise, or clothing which should be adapted to the sea- 
son of the year and include proper under-clothing. The feet should 
always be protected by warm stockings and shoes. 

THE BATH. The body should be kept perfectly clean. A soap 
and water bath should be taken at least once a week. This is a valu- 
able adjunct to health, as it prevents the accumulation of impurities 
discharged through the pores of the skin. 

The elementary principles of health are, pure air, perfect cleanli- 
ness, well-cooked food, and plenty of sun-light. 



BOXING. 



There is no exercise tliat will so surely cultivate activity, endur- 
ance and strength, as boxing. Besides being an excellent school for 
the nerves and temper, it also develops the body, gives symmetry to 
the parts, and grace to the movements. 

Boxing has been called brutal ; those who hold that view 
look only at the worst aspect of the means ; being an expert l)Oxer does 
not tempt one to bully or fight, any more than being an expert pen- 
man would tempt a person to commit forgery. Our experience has 
been, that the best boxers are generally men of great forbearance un- 
der provocation, and we are satisfied that the knowledge of boxing, 
renders men not quarrelsome, but forbearing ; for they feel that it is 
"glorious to possess a giant's strength, but cowardly to use it like a 
giant." It is in many respects the best of all exercises ; every muscle 
in the body is used; head, arms, legs and feet are all called into play; 
your tools are always with you; and we may say that this is the only 
exercise requiring rapidity and strength combined. 

In entering upon the practice of the "Art of Self Defense" the pu- 
pil will be benefited by reading carefully the following suggestions. 

Secure the services of an active, even-tempered, companionable 
opponent, as near your own heigiit and weight as possible, and provide 
a set of good boxing gloves. In regard to the latter, the white gloves 
used by professionals are best, as they are not apt to scratch the face 
or blacken the eyes, which the cheap buck-skin almost invariably do in 
heavy sparring. 

When sparring always keep the arms in the proper position; never 
drop your hands until out of distance. 

THE ARM. The movements of the arms should be light and free 
when not hitting, even then the muscles should not be compressed un- 
less the blow reaches its mark. Cultivate quickness ; endeavor to make 
the hand reach the object aimed at in the straightest possible line 
and without any intermission of time between the thought and the 
blow. Use the weight of the body as much as possible, in preference 
to the strength of the arms. Always get your blow to its mark 
even if you receive a counter in return ; it will teach you to hit quicker 
and guard better next time. !N ever flip or slap. Always hit with the 
back of the gloves, keeping the hand half closed. 

Do not hit below the belt; it is foul. 




10 BOXING. 

THE FEET. Without proper use of the feet no person can become 
an expert boxer; for Avlien two persons of equal science are sparring, 
it becomes more a matter of generalship, tlian science. Their feet 
and legs are used more than tlieir hands, they feint, rush in, strike 
and get away, each one endeavoring to out maneuver his opponent. 
^•^""•^ The position of the feet should 

[i 5 inches' ^^ ^^ sliown in Fig. 1. The left 

foot should be flat on the ground 
Fig.l. and pointed in a direct line with 

your adversary; the right heel must be in a line with and behind the 
left heel ; the toe of the right foot should be turned slightly out. The 
distance between the feet should be from 12 to 15 inches according to 
the height. 

Both knees should be slightly bent, and the right heel raised so 
that the weight of the body will rest on the ball of the foot. 
To advance, move the left foot forward about ten inches, 
follow with tlie right at the same distance. 

To retreat, step back the same distance with the right foot and fol- 
low with the left. The space between the feet should at all times be 
as nearly as possible as shown in the engraving. 

To avoid a rush, move the left foot about twelve inches to the right 
and follow with the right, or move the right foot the same distance to 
tlie left, and follow with the left, keeping the feet about tifteen inches 
apart, aud facing your adversary. By this arrangement of 
steps, the right foot is always behind the left leaving you in 
position, either for attack or defense. 

In sparring, move cautiously around your adversary. Keep the 
left hand and foot in advance, and after delivering a blow, work to the 
right, to get out of reach of his right hand. 

THE HEAD. In sparring, the position of the head is very im- 
portant; it should beheld in such a manner, that it may be rapidly 
thrown to either side to avoid a blow. 

The chin should be inclined slightly, the face turned to the right. 
so that both eyes will not be on a line with your opponent's left hand 

Keep the eyes open, and the mouth and teeth firmly closed. 
Never bite the lips or put the tongue between the teeth. 

Look your antagonist directly in the eye, and endeavor to avoid 
showing by the expression of the eye and face, when you intend to hit. 

A most essential feature in sparring, is a well governed "head- 
work," otherwise known as ducking. It is an excellent method of 
avoiding a blow, though it is generally used for the purpose of coun 
tering. They are, the duck to tlie left to counter with the left hand, 



BOXINO. 11 

and the duck to the right to counter witli tlie right hand. In both cas- 
es the duck is the same, whether countering for the face or body. 
There are also the ducks to the left or right when leading off 
with the left hand. Never duck without hitting; it is dangerous. 
Always duck away from your opponent, do not raise your head until 
out of distance. 

THE BODY. Little can be said in regard to the position of the 
body, that has not been already noticed in connection with its other 
members. It is necessary however to make as much as possible of the 
weight of the body in hitting. The blow that is simply delivered by 
the muscular action has much less force than when backed by the full 
weight of the body. In sparring the body should move slightly with 
the arms. Throw the right shoulder well back and slightly sink it, 
leaving the left one a trifle the higher. The whole body should be 
turned a quarter from your adversary, in order that the stomach and 
ribs may be less exposed. 

Avoid if possible, close work with an opponent of superior weight. 
When opposed to an opponent taller than yourself, liglit at his body, 
using the ducks as herein shown. 

GETTIiS G IN TIME. When your adversary approaches too near, 
draw back your right hand and advance the left about half way. 
When he retires, withdraw the left and resume position with the riglit. 
When sparring this movement will enable you to get your opponent's 
time, and allow you to lead or counter, without the intention being 
readily discovered. This movement must be slight and done in an 
easy manner; over-done it is useless and awkward. 

GETTING IN DISTANCE. When your adversary moves toward 
you, if he is not well covered, step in suddenly and hit him, retreating 
as soon as the blow is delivered. Endeavor at all times to lead otf as 
your opponent moves forward, as otherwise it will be easy for him to 
guard the quickest blow. 

FEINTING. This is done by pretending to strike at one place 
and hitting at another; and in other cases to draw any particular blow 
for which you are prepared to counter. Feint by drawing the right 
hand back and advancing the left foot, or making a quick movement 
as if to strike with the left hand at the head, and hitting with the right ; 
or, feint with the left hand for the face and duck and hit for the body 
with either hand. A feint may also be executed by a glance of the eye, 
at the waist or feet and hit at the face, or by a sudden start forward 
as if to strike, stopping and following with a genuine blow. 
The blows used by modern boxers are as follows : 
The left-hand blow at the face. The left-hand blow at the body. 
The right-hand blow at the face. The right-hand blow at the body. 



12 BOXING. 

These can be varied with either hand by: The chopping or down- 
ward blow, the swinging or roundabout blow, the upper cut or 
lifting blow. These last are generally considered as unscieuiific and 
are, with the exception of the upper cut, rarely used by expsrts. 

Particular attention should be given to the correct manner of 
closing and holding the hand, which in all cases should be, as 
shown in Fig. 1. 

SHAKING HANDS. 
It is customary before and after a bout, to shake hands a& a 
token of friendship, it is a good custom and should always be done. 
After the ceremony, step back and assume the position on guard 
before again getting within distance of your opponent, see Fig. 2. 
POSITION ON GUARD. 
Stand in the position shown in Fig. 3 and 4, the feet from twelve 
to fifteen inches apart, according to height, the right heel on a line 
with the left, the toes turned slightly out. 

The right arm should be across the bottom of the ribs, the finger 
knuckles touching the left breast. The left hand should extend on 
a line with your elbow and your opponent's face and when not in 
motion should rest easily against the side. 

THE LEFT-HAND LEAD OFF AT THE FACE. 
The left-hand blow at the face is the most common one used in 
sparring and attention should be given to attaining proficiency in it. 

In leading, make a short step in witli the left foot, straighten the arm 
and strike directly at the centre of your opponent's face, bending for- 
ward slightly from the waist. Throw the shoulders forward and if 
the blow reaches its mark back it up with the whole weight of the body. 
Do not chop or swing the arm. 

In the engraving, see Fig. 5 the dotted figure illustrates the attitude 
on guard, the other figure shows the position the instant the blow is 
delivered, the two together show the change from one position to the 
other, the distance necessary to step in and illustrates the great reach 
which can be obtained by throwing the shoulders forward ; also the pos- 
ition of the right hand to guard a counter if it should be given. The 
movement of both hands and feet should be together and instantaneous. 
RIGHT HAND GUARD FOR THE FACE Fig. 6. 
When you see the blow coming throw the forearm up and outward, 
turning the palm of the hand out, so that the force of the blow will be 
received on the fleshy part of the arm, lean a trifle backwards. Keep 
the elbow down, and extend the arm only far enough to turn tlic blow 
from the face. 



BOXING. 



13 



Left hand at the face 




Left hand at the bud}- 

FIG. 1. 
How TO Hold The Hand. 



FIG. 2. 
Shaking Hands. 




FIG. 3. 
Position on Guard. 



FIG. 4. 
Attitude on-Guard. 



BOXING. 




FIG. 5 



FIG. 6. 



Left-Hand Lead-Off at the Face, Right-Hard Guard for 



AND Change in Position 




THE Face. 




FIG. 8. 

FIG. 7. Left-hand Lead-off for the Face 

Right-Hand Guard and Duck, and Right-hand Guard for it. 



BOXING. 



15 




FIG. 9. 
Left-hand Lead-off with 
Guard for a Counter. 



FIG. 10. 

Both Lead-off without 

Guarding. 




FIG. II. 
Change in Position for the FIG. 12. 

Left-hand Lead-off and Left-hand Lead-off for the 
Right-hand Guard. Body. 



BOXING. 
1() 

DUCK AND GUARD FOK THE FACE. 
Raise the right arm to a level with the centre of tJie laee, bend the 
head forward and to the left, thns enabling you to see your opponent 
under your arm. The forearm should cross the face and be thrown 
forward to turn the blow. 

Fig. 8 Left-hand lead-off at the face without guarding. 
Fig. 9 Left-hand lead-off at the face with guard. 
Fig 10. Both lead-off with the left hand at the face without guarding 
Fig. 11 The cliange of position from on gi^.ard, to lead-off at the 
face with the left-hand and the right-hand guard for the face. 
THE LEFT-HAND LEAD OFF FOR THE BODY Fig. 12. 
This blow should be aimed at the pit of the stomach. It can best be 
done by feinting with the right hand to induce your opponent to throw 
up his left hand, thus exposing the stomach. Duck to the right when 
leading off and step in twice the distance of an ordinary step. Be care- 
ful to spring back before raising the head. 

RIGHT-HAND GUARD FOR THE BODY Fig. 13 and 14. 
Turn the palm of the hand down and beat the blow off with the 
forearm. 

This blow can also be stopped by hitting your opponent in the face 
before he can get his head down; though to do so it will be necessary 
to foresee his intentions. Keep the right-hand across the stomach 
when attempting this manoeuver. 

RIGHT-HAND STOP FOR THE LEFT-HAND BODY BLOW. 

Fig. 15. 
Place the left arm directly over the pit of the stomach making a V 
of the arm, with the hand inclined towards the chin. The muscles 
must be well set and the arm pressed tirmly against the body. Move 
the right foot back to enable you to resist the force of the blow. 
This blow can also be guarded with the right arm in the same manner ; 
when the arm is not extended. 

LEFT-HAND COUNTER Fig. 16. 
Guard the blow of your opponent with your right arm as directed 
for the left hand lead off. Lean forward and slightly to the left to 
counter. The movement of both arms must be simultaneous. 
LEFT-HAND COUNTER AND GUARD Fig. 17. 
Guard the counter the same as your opponent does your lead-off. 
The dotted and outline figures Fig. 18 show the necessary change 
in position, to guard and counter. 



17 





FIG. 14. 
Right-hand Guard for the ^ ^ ^^- ^3- 

Body. Right-hand Guard for the body. 




FIG. IS. 
Right and Left-hand Guards for the Left-hand Lead-off for 

the Body. 



18 BOXING. 

GUARD AND LEFT-HAND COUNTEll FOR THE BODY. 
Fig. li). 

The counter for the body is executed in the same manner as the one 
for the face, exce[)tthat in hitting it is necessary to stoop and step 
forward. 

DUCK AND LEFT-HAND COUNTER FOR THE FACE. Fig. 20. 
As your opponent leads otf at your face, throw the head to the right 
and forward, allowing the blow to pass over the left shoulder; step in 
sti'iking for the face. 

To guard the left-hand blow at the face when your opponent ducks 
to the left, use the right-hand guard as directed for all blows of the left 
hand, or as shown in the engraving Fig. 21 duck to the right as your 
opponent has done. 

The figures, Fig. 22 here shown illustrate the change in positions. 
DUCK AND LEFT-HAND COUNTER FOR THE BODY. 
Fig. 23. 
Tlie counter for the body is struck the same as for the head, except 
that the blow is aimed at the pit of the stomach. 

To guard it use the right-hand guard for the body ; or, avoid it by 
springing back. 

Fig. 24 shows the change in position. 

RIGHT-HAND COUNTER INSIDE THE ARM. Fii,. 25. 
Guard your adversary's lead-off with your right arm ; then with- 
out returning your arm to its first position, step in and hit with the 
right hand at tlie face, the blow passing along the inside of your oppo- 
nent's arm ; making a hit difficult to guard. To avoid this blow spring 
back out of distance, or guard it with the right arm. This blow though 
not severe 'is useful when opposed to an opponent who attempts to 
crowd you back. 

LEFT-HAND GUARD AND RIGHT-HAND COUNTER. 
Fig. 26. 

Guard your opponent's left hand wdth your left, tlius turning him 
partly to the left and exposing his left side to your right-hand counter, 
which should be delivered by stooping forward and striking elost 
under the arm. In guarding, raise the arm somewhat higher tlian 
ordinarily. 

This is a very telling blow when well executed, and very useful 
to oppose an opponent who runs to the left when sparring. 

To guard or avoid the blow, press against your opponent's guard 
and spring back. 



19 




FIG. 17. FIG. 16. 
Left-hand Lead-off, Right-hand Left-hand Counter to a Left- 
Guard, Left-hand Counter hand Lead-uff at the face, 
and Guard for it. 




FIG. 18. FIG. 19. 

Change in Position for a Left- Left-hand Counter at the 
HAND Counter at the Face, Body. 



20 




FIG. 21. ^ FIG. 20. 

Both Lead-off v/ith the Left Duck and Left-hand Counter 
Hand at the Face and Duck. at the Face. 




FIG. 22. FIG. 23. . 

Change in Position to Duck Duck and Left-hand Counter 
AND Counter for the Face. for the Body. 



BOXING. 



21 




FIG. 24. 

Change in Position to Duck 

AND Counter with the Left 

HAND AT the BoDY. 



FIG. 25. 
Right-hand Inside-Counter 

FOR THE face 




FIG. 26. ^,,. ^^ 

Left-hand Guard and Right- r rr ht » a x^^ i ,: .1' 

hand Counter to a Left-hand ^'^"^'"^^P Lead-off at the 
Lead-off at the Face. 



FIG. 



Face. 



22 BOXING, 

RIGHT-HAND LEAD OFF FOR THE FACE Fig. 27. 

This lead off-can only be successfully used when your opponent 
holds Ills left hand too low when on guard. Step in with the left foot, 
duck to the left, striking for the face with the right hand and throwing 
the right side and shoulder forward. 

To avoid a right-hand lead-off, duck to the left the same as your 
opponent does when leading oft. 

LEFT-HAND GUARD FOR THE FACE. Fig. 29 and 30. 
Raise the arm, turn the palm to the front and move the right foot 
back. 

RIGHT-HA^D COUNTER FOR THE FACE. Fig. 31. 
Guard the lead-off of your opponent with your left hand, and coun- 
ter with the right hand at the face. Strike straight and throw the 
shoulder forward. 

DUCK AND RIGHT-HAxND COUNTER. Fig. 32. 

Duck to the left and counter with the right hand at the face. 

Fig 33. Change in position for a right-hand lead-off and left- 
hand guard for the face. 

Fig. 34. Guard for a double lead-off with the left hand at face and 
body. Spring back at the same time. 

RIGHT-HAND LEAD-OFF AT THE BODY. Fig. .35 and .30. 
Duck to the left, stoop forward and aim the blow at the heart. 
This blow^ is seldom used except as a counter, hereafter explained. 

LEFT-HAND GUARD FOR THE BODY. Fig. 37 and 38. 
Turn the palm of the hand out and throw the blow off to tlie left, 
keeping the arm close to the body and at the same time springing back. 

GUARD FOR RIGHT-HAND BODY BLOW Fig. 39 and 40. 

Hold the left arm firmly again the side, spring back. 

Fig. 41. Change in position in leading off with the right-hand at 
the body. 

RIGHT-HAND COUNTER FOR THE FACE Fig. 42. 

Guard the lead-off at the body with your left hand and counter for 
the face with the right, as before described. 

RIGHT-HAND CROSS-COUNTER Fig 43. 
As your opponent leads off at your face with his left hand, bend 
the body forward from the waist, duck slightly to the left, swing the 
right side forward and strike over your opponent's arm hitting him on 



BOXING. 



23 




FIG. 28. 
Both Lead-off with the Right 

HAND AT THE FaCE, AND DuCK. 



FIG. 30. 

Li^FT-HAND Guard for a Right 

HAND Lead-off at the Face. 





FIG. 29. 
Left-hand Guard for 
Right-hand Lead-off 
AT THE Face. 



FIG. 31. 
Left-hand Guard and Right-hand 
Counter to a Right-hand Lead- 
off AT THE Face. 



BOXING 




FIG. 32. 
Duck and Right-hand Counter 
TO A Right-hand Lead-off 
AT the Face. 




FIG. 33. 
Change IN Position for a Right- 
hand IvEAD-OFF AT -THE FaCE, 

AND THE Left-hand 
Guard for it. 




FIG. 34. prp ., 

Guard for a Double Lead-off of ^ ^Y ^^^' 

Left hand at the Face and the Right-hand Lead-off at the 



Right hand at the Body. 



Body. 



26 




FI<^-39- ^ FIG 2G 

Left-ha>'d Guard for a Rigtit- r,c„^.„^,^^.,, Lead-off at the 



HAND Lead-off at the Body. 



Body 




FIG. 37, 38. FIG. 40. 

Left-hand Guard for a Right- Left-hand Guard for a Right- 
hand Lead-off at the Body. hand Lead-off at the Body. 



26 BOXING. 

the side of the head. 

The movement of tlie right arm should not be too quick, as it en- 
ables your opponent to anticipate your intention. 

In hitting, bend the arm slightly and turn both feet to the left; 
this is the most effectual blow \\\ sparring, and should be followed with 
a blow from the left at the face. 

Fig. 44. The change in position necessary to cross-counter with 
the right hand. 

DUCK FOR A CROSS-COUNTER. Fig. 45. 
If by your opponent's movements you can tell that he intends to 
cross your lead, step in, strike out and duck the head forward so that 
the ear will touch the inside of the arm; the blow will then pass over 
the head. 

TO GUARD A CROSS-COUNTER. 
Partially withdraw the left hand and turn the elbow up, if done in 
time this will effectually guard it, and leave a splendid opening for a 
right-hand counter. 

TO STOP A CROSS-COUNTER. Fig. 46. 
Change the direction of the lead-off" and hit your opponent on the 
chest near the shoulder or on the side of the head ; or anticipating your 
adversary's intention, duck, and hit him in the body with either hand. 

LEFT-HAND CROSS-COUNTER. Fig. 47. 

Feint with the left hand to draw your opponent's cross-counter, 
throw the head back allowing the blow to pass by your face, then 
spring in hitting at his face over the arm. 

This is very useful and is well worth practicing. 

Practicular attention should be given to the feint of the left hand 
necessary to this manoeuver. Straighten the arm as if to hit, at the 
same time advancing the left foot, then withdraw the foot and hit at 
the face ; this when repeated occasionally will he apt to draw the cross- 
counter of your opponent. 

DUCK AND RIGHT-HAND COUNTER FOR THE BODY. 

Fig. 4H. 

This blow Is delivered the same as the right-hand cross-counter 
and should be struck at the ribs. 

It is very difficult to guard this blow as the left arm is out when 
the counter is delivered; it can only be done by dropping the arm and 
beating the blow d<nvn, at the same time springing back, thus reducing 
the force of the blow, if struck. 



BOXING. 



27 




FIG. 41. 
Change in Position for a Right- 
hand Lead-off at the Body 
AND THE Guard for it. 



FIG. 42. 
Left-hand Guard and Right- 
hand Counter to a Right-hand 
Lead-off at the Body. 




FIG. 43. 
Right-hand Cross-Counter. 



FIG. 44. 
Change in Position for a Right- 
hand Cross-Counter. 



28 



BOXIXG. 




FIG. 4.-, 
Dick for a Right-hand 
Cross-Counter. 



FIG. 40 

Stop for a Right-hand 

Cross-Counter. 




FIG. 47. 
Left-hand Cross-Counter. 



FIG. 48. 
Duck and Right-hand Coun- 
ter for the Body. 




FIG. 49. 
Change in Position for a Right- 
hand-Counter FOR THE Body 



FIG. 50. 
Left-hand Upper-Cu' 




•4i^ 



FIG. 52. FIG. 51. 

Stop for a Left-hand Upper- Puck and Counter for a Left- 

Cut. HAND UPPER-CuT. 



30 BOXING. 

Fig. 49. Change in position for a right-hand counter for the body. 
LEF-THAND UPPER-CUT. Fig. 50. 

When your opponent leads off with his left hand and ducks his 
head forward, strike upwards with the left hand at his faci'. Tliis 
blow is really a counter and the force of the blow comes from the body. 

DUCK AND COUNTER FOR A LEFT-HAND UPPER CUT. 
Fig. 51. 
Duck to the right and strike for the body with the left hand. 
Feint a lead-otf with the head down, to draw the upper cut. 

RIGHT-HAND UPPER CUT. Fig. 53 
This blow is similar to the left-hand upper-cut and delivered for 

thcsanie reason. Duck the head slightly to the left when hitting. 
Fig. 47 To stop a left-hand upper-cut throw the heai back and 

strike at your adversary's face with the left hand. 

DUCK AND COUNTER FOR AN UPPER-CUT. Fig. 54. 

Duck to the left and strike for the body with the right hand. 

GETTING TPIE HEAD IN CHANCERr. Fig. 55. 
When sparring always endeavor when at close quarters to get your 
opponent in this position. It is done oy grasping your oppotient 
around tlie neck after having led off and passed over his shoulder; 
hold him firmly witli the left arm and punish him with the right. 

Fig. oH. To get the head out of this position, press your left fore- 
arm against your opponent's chin throwing him backward, at the 
same time ducking the head and springing back. 

Fig.57 and 58. Another chancery hold and the break for it. 

Fig. 59 and 60. When your opponent leads at your face and ducks 
to the left, catch him around f he neck with your left arm, draw his 
head down and use your right hand on his left ribs. To get away 
from this hold, draw back the left hand and press your opponent biCv 
by pushing his head with the left and the body with the right hand, 

RALLYING OR IN-FIGHTING, Fig. 61. 

Consists in getting your arms inside your opponent's and deliv- 
ering several blows in rapid succession. 

Having the feet close together lean forward, lower the head, keep 
your eyes on your opponent, use both hands and swing the shoulders 
forward with each blow. 

In in-fighting the arm should not be drawn back, the force of the 
blow being given by the movement of the shoulders. 



BOXING. 




FIG. 54. 
Stop for Right-hand Upper 
Cut. 



FIG. 55. 
Getting the head in Chan 

CERY. 





FIG. 56. 
Getting the Head out of 
Chancery. 



FIG. 57- 
Another Chancery Hold. 



bOxixg. 





FIG. 58. 
Break for the Second Chan- 
cery Hold. 



FIG. 59. 
Chancery Hold No. Three. 




FIG. 60. 

Break for Chancery Hold No. 

Three. 



FIG. 61. 
Inn-Fighting, 




P^IG. 62. 
Breaking Ground or Re- 
treating. 



FIG. 63, 64. 
Arm Defence for all Blows. 




FIG. 65. 

Slipping or Taking Ground to 

THE Side. 



FIG. 66. 
Side-step to the Right. 



34 BOXING. 

RETREATING. Fig. H*_>. 
Wlu'ii h^adiii^ ot!" at your opponent, your right foot should be 
sli.uhtlx' raised. It necessary to retreat, step back with the right foot 
and wlien it receives the ^Yeigllt of the body spring backwards, alight- 
ing with the left foot on the spot formerly occupied by the right; if 
necessary, take another step in the same maiwier. 

ARM defencp:. 

Fig. t)3 and (54 The guaixls and stops for all blows are* A. A. 
right-hand guard tor the face. B. B. left-hand guard for the fpce. (J 
left-hand guard f(u- left-hand body blow. I), righl-hand guard for 
the body. E. and F. left-liand guard for the body. 

SLIPPING. Fig. 65, 
The maneuver Jiere represented is very useful in avoiding a rush, 
or getting away when against a stationary object. 

Duck to the right and step out with the left foot at right angles to 
the former positioii. Face your opponent by turning to the left and 
moving the right foot behind you. 

SIDE-STEP. Fig. 66. 
When your opponent leads heavily for your face, duck to the right 
spring back with the left foot and forward with the right; thus chang- 
ing your position ; placting your right foot in advance of the left, then 
if there be an opening strike for your opponent's face with the right- 
hand and follow with a left-hand upper-cut. 

RIGHT-HAND BOXING. 

Fig. 67, To spar with an opponent who advances his right foot 
and arm. Be careful in leading off with the left hand. Lead oft with 
the right and duck to the left. 

Fig. 6« Guard the lead-oft with the left hand and work to the left 
to avoid his left hand. 

Fig. 69, Duck and counter at the face or body. Strike the same 
as for a right-hand cross-counter or a riglit-hand counter for the body, 
and avoid close work. 

BACK-HEEL. 

When using the duck and counter, as shown in Fig. 20, place your 
left foot outside and to the rear of your opponent's left heel, pushing 
him backwards and over your foot. 



BOXING. 




o i:^ FIG 67. FIG. 68. 

KiGHT Foot and Arm Advanced Left-hand Guard for a Right- 
IN Si^arring. hand Boxer. 




FIG. 69. 

Duck and Right-hand Counter 
FOR A Right-hand Boxer, 



FIG. 70. 
Back-fall in Wrestling. 



36 

WRESTLING. 

Wrestling as accessory to boxing, is a very important brancli of the 
science, and one wJ)ich may be put to good use at any time. 

BACK FALL AND BREAK FOR IT. Fig. 70 and 71. 
Rush in, tlirow your left arm well around your opponent's waist, 
place your left leg behind his right leg and press your right arm under 
his chin. Pull with your left, and push with your right hand, and 
throw him if possible, if not, break away before tiring yourself. 

SIDE FALL. Fig. 72. 
When sparring at close quarters catch your opponent around the 
waist with your right arm at the same time passing your right leg be- 
liind him ; grasp his right arm with your left, lift him up and let him 
fall backwards to the ground. 

BACK HIP-FALL. Fig. 73. 
When your opponent leads off with his left hand, duck to the right, 
rush in, throw the left arm tightly around his waist, place the left leg 
well behind him, raise him on your hip, catch him under the chin 
with your right hand and drop him to the ground. 

CROSS BUTTOCKS. Fig.-74 and 75. 

Throw your right arm around your opponent's neck, swing around, 
place your right leg in front of him, if possible catch his right arm 
with your left, then jerk him across your hip and throw him to the 
ground. 

To break the cross-buttock. Put your left arm over your opponent's 
shoulder and press against the right side of his face. With the right 
hand grasp his right leg at the knee and by pushing with both hands 
turn him around to the left. 

We have now described all the hits, stops, guards, chancery and 
falls, in boxing. Thefollowing table comprises all the blows, counters 
and guards, arranged to show plainly the proper guard or counter to 
oppose any blow, also the proper guard or counter to oppose the return 
of the person attacked. 
Opposed to the LEFT-HAND BLOW AT THE FACE are: 

1. Right-hand guard. In turn opposed by 

2. Right-hand guard and left-hand counter for the face. 1. 2. 4. s. i). 

3. Right-hand guard and left-hand counter for the body, 2. 10. 

4. Left-hand guard and right-hand counter for the body, see Fig. 2(). 

5. Duck and Icft-haud counter for the face, see 20. 

6. Duck and lett-hand (iounter for the body, JO. see 24, 



BOXING. 




37 



FIG. 71. 
Break for a Back-fall, 



FIG. 72. 
Side-fall. 




FIG. 73. 
Back Hip-fall. 



FIG. 74. 

Left-hand Cross-counter and 

Stop for a Right-hand 

Upper-cut. 



;^ BOXlXG. 

7. Kight-liaiul counter for tlie face inside the arm. see 25. - 

s. Right-hand cross-counter. 15. 18. see Figs. 45. 46. 

it. Duck and right-hand counter for the body. 19. 20. see Fig. 48. 

Opposed to the LEFT-HAND BLOW AT THE BODY, are; 
10, Left-hand guard. 
IJ. Right-hand guard. 

12. Right-hand guard and left-hand counter for the face, same as No. 2 

13. Left-hand upper cut. see Fig. 51. 

14. Right-hand upper cut. see Fig. 53. 

Opposed to the RIGHT-HAND BLOW AT THE FACE, are; 

15. Left-hand guard. 

Iti. Left-hand guard and right-hand counter for face. 15. 

17. Duck and right-hand counter for face. 15. 

18. Left-hand cross-counter. 

Opposed to the RIGHT-HAND BLOW AT THE BODY, are; 

lit. Left-hand guard. 

20. Left-hand upper-cut. see Fig. 51. 

The numbers after each opposing blow show the guard or counter 
that should be in turn used to oppose the one delivered. 

To combine theory with practice, it will be necessary for the pupils 
to practice both the ofteusive and defensive of all blows. 

Take the movements in the order given, skip none and practice 
each one thoroughly before attempting another, and master them all 
before having a genuine set-to. 

The best method of practicing the different blows and guards, is as 
follows. Practice each blow slowly at first and increase the speed 
gradually until the blows are made smartly and in as rapid succession 
as possible, but not omitting to return to the position, on guard, after 
each blow. In this manner, alternately going through all the guards 
and counters opposed to each blow in order described. Continue in 
this manner until you have mastered the theory of each movement. 

The double lead off and combination blows are struck thus. Lead 
off for the face with the left hand, step in and strike again with the left 
either at the face or body, or follow the left-hand blow with one deliv- 
ered from the right hand at the face or body. A third blow can be 
struck with either hand in the same manner. 

To make a good set-to it will be necessary for the pupil to pay 
particular attention to the following maneuvers; they consist of feints 
to driiw out any particular blow and stops or counters to oppose them 
when delivered. 



^0X1X0. 



iv.) 



Feint with your left hand, to draw a left-hand counter, (xuardthe 
counter and counter it with your left hand, see Fig. 17. 

(Strike with the left hand and let the blow fall short : your face will 
then be exposed to a left-hand counter, which you can cross-counter 
or duck and counter for the body with your right hand, see Fig. 43. 48. 

Feint with your left hand to draw a cross-counter, throw the head 
back allowing the blow to pass by your face, then spring in and strike 
over the arm for the face, see Fig. 47. 

Strike short with the left hand, to draw a cross-counter. Change 
the blow to a guard, by turning the elbow up, and counter with the 
right hand, see Fig. 31, 

In a set-tO never do the same thing twice in succession: do not be 
too impetuous; try to out-general your opponent; work out as many 
points as possible, science is superior to strength in this respect, if you 
drop your science and rush in,, strength will surely win. Never lose 
your temper, remember that cool courage is superior to hot headedness ; 
never degenerate into a rough, unmeaning, unscientific scramble. Be 
manly and seek no undue advantage. 

If, in attempting any particlar maneuver you do m)t at first suc- 
ceed, wait until you have another and more favorable opjwrtunity and 
try it again. 

Spar with any one who invites you to do so. The more your su- 
perior he is. the better. Be afraid of no one until you have tried him. 
If he abuses you, it will then be time to stop. 





FIG. 75. 
Cross-buttock. 



FIG. 76. 
Break for the Cross.buttock. 



CLUB SWINGING, 



Man is so constituted tliat every organ, mental or physical, requires 
to be exercised ; without it the functions of the body get out of order 
and disease takes the place of health. The Indian Club exercise has 
an important influence on the physical development, it squares the 
shoulders and strengthens the chest, back and arms ; it is the gymnastic 
specific for pulmonary complaints; and the best possible exercise for 
the hectic and narrow chested portion of the community, it imparts a 
perfect command over the balance of the body, besides creating graceful 
movements and easy manners. They are particularly useful to count- 
er-act the tendency of sedentary life. 

It is usually considered that all movements are distinct and 
have no relation to other movements, thus complicating what should 
be a simple matter. 

There are in the art of club-swinging, but THREE distinct 
movements. The Straight Arm, The Bent Arm, and the Wrist move- 
ments, all combinations of movements are made by varying these by 
holding the arm in different positions while tiie club is made to des- 
cribe the circles. 
There are NINE of these positions, viz. 

WRIST CIRCLES. 

1. Arm extended vertically, making a wrist circle. 

2. Arm extended horizontally, making a wrist circle. 

3. Arm down, making wrist circle in front. 

4. Arm down, making wrist circle at the back. 

BENT ARM CIRCLES. 

5. Back of the shoulder. 
(3. Front of the shoulder, 

7. Over the opposite shoulder. 

8. Front of the opposite shoulder. 

9. Under the opposite ai-m. 

These circles are governed by a simple principle; see Fig. 15, 
which, when understood will render club swinging so simple that any 
one can master the movements and make new combinations. 



ctvn-swiscAyjG. 




RIGHTHAND 

Outer— Inner oo 



Right or Left 



LEFTHAND 
Inner— Outer 



Forward or Backward 



THE PRINCIPLES OF CLUB SWINGING. Fig, 1. 

In the engraving the black spots represent the handle of the club 
and the centre of the circle made by the end of the club in going around. 
The hand being held nearly stationary. 

The lines at the feet of the figure, show the manner of varying the 
movements by swinging in front, behind, at the side and diagonal to 
the front of the body. 

Any circle done in one direction can be reversed and swung in the 
opposite direction. 

Any circle done while the hand is held in any of the nine positions 
can be done with the hand at any of the other positions. 

By understanding this, and the proper method of combining the 
circles into double movements, the pupil will be able to iiiveut combi- 
nations including any two o*r ail the circles. 



-^ ClAB SWINGING. 

Accuracy is ol" the iitniost importance in the practice of the exer- 
cises described in tliis boolv. This should be thoroughly understood 
as no skill can be ac(iuired when the movements are done in a careless 
or awkward manner. 

It would perhaps be better to first practice the movements with- 
out the clubs, turning the arm and wrist in the proper manner until 
the idea is perfectly clear, then proceed with the club. 

In selecting clubs the beginner should be careful not to get them 
too heavy for the difficult movements ; a club which can be held at 
arms length and made to describe a wrist circle, is best, and the exercise 
which would be obtained by continuing their use a moment or two 
longer would be more beneficial than the strain of swinging a heavy 
one a shorter time. 

It is best to learn the names of the different circles and movements, 
as it gives a much clearer understanding of them than could be secured 
otherwise. In the single movements the names describe the circle it- 
self. In the double, the name indicates the movement by showing the 
relation the arms bear to each other in completing a circle. 

In practicing, stand erect, expand the chest, square the shoulders 
and slightly elevate the chin, look straight to the front, lean a little for- 
ward so as have the weight centre on the balls of the feet, have the 
heels two inches apart with the toes spread at an angle of forty five 
degrees. If tliere is a line in the floor or carpet, it would be well to 
stand facing it; make the club follow this line as nearly as possible. 

First bring the club to the starting position, with the hand opposite 
the right breast, the elbow pressed to the side, the knuckles turned 
out and the club extended vertically. 

Start every Circle or Movement from this position. When only 
one club is used let one arm hang pendant at the side. If a Straights 
Arm circle is to be done, elevate the club at arms length to a point 
directily above, then proceed. 

First make the club describe an inner-circle, that is, start it toward 
the head or centre of the body. Then describe the same circle at the 
side, that is, at right angles with the line. Then the same digonally 
with the line, next describe the same circle in the opposite direction 
or outer, starting away from the head or body, and §o on through the 
three circles as before. Then try another circle the same, and as soon 
as all the single circles have been mastered take both clubs and pro- 
ceed in the same manner. 

If at first the club wrenches the wrist in making the circles, try some 
other way of holding it, as the whole secret of doing the difficult 
movements is in the manner in which the club is held in the hand. 



CLrB-S\VIXGIX(i. 




Fig. 2. 



BEXT-ARM CIRCLES, BACK. Fig. 3 and 4. 

Hold the club in the starting position, raise the arm and drop the 
club over the shoulder, make a complete circle behind the back, and 
repeat. Allow the wrist perfect freedom, do not hold the club too tight 
as it will make the movement awkward. In the inner circle let the 
hand pass from the top of the head to the back of the neck. 

With the right hand drop the club to the right for the outer circle 
and to the left for the inner circle, and the reverse with the left hand. 

Endeavor to swing the club squarely, and let the evolutions be per- 
pendicular and parallel to the line in the floor. 

The only difference between the inner and outer circles is the di- 
rection of swinging them. 



44 



ClUB-sWiMgiNG. 




INNER MOVEMENT. Fig. 5. 

This movement combines the inner bent-arm circle, back of the 
shoulder and the plain straight-arm movement or sw^eep in f rent of the 
body, tlius making a circle within a circle. 

Execute the same with the left hand carrying the club to the right 
instead of the left. 



CLUB-SWINGING. 



45 




OUTER MOVEMENT. Fig. 6. 

This TTiovement combines tlie outer bent-ann circle back of the 
shoulder and the straight-arm circle in front of the body. 

When finishing the bent-arm circle, raise tlie arm and extend it 
straight vertically before starting the straight-arm circle. 



J.j 



CLUB-SWINGIXG. 




SIDE MOVEMENT. Fig. 7. 
From the starting position, drop the club forward or back, letting it 
turn loosely in the hand, finish the bent-arm circle with a siraiglit-arm, 
both circles being complete. 

The circles should be made at right angles to the floor line. 
Repeat with the left hand. 



CLUB-SWINGING. 

■"^'73 .. 



47 




OVER-ARM MOVEMENT. Fig. 8. 
From the starting position raise the arm and extend it across to 
the opposite shoulder. Drop the club over it and made it describe a 
complete circle behind th.e back. Throw the head back to allow the 
arm to go over the shoulder as far as possible. 

Finish with a straight-arm circle and repeat. Excute the same 
with tht left hand. Reverse to the inner movement. 

UXDER-ARM MOVEMENT. Fig. 9. 

Extend the arm not in use horizontally. Drop the club with the 
arm reaching as far as possible, turn the knuckles out and describe 
the circle behind the back, with the hand close up under the opposite 
arm. 

In the movement combine the straight-arm with the under-arm 
circle. Reverse to outer-circle. Execute in the same manner with the 
left hand. 



is 



CLUB-SWIXGING. 




CLUB-SWINGING. 

/ r 




49 



Fig. 11 



BENT- ARM CIRCLE, FRONT. Fig. 11. 
Hold the club loosely in the hand, taking hold of the ball of the 
hanc'le, turn the palm out and drop the club down and around. Keep the 
hand nearly stationary, allowing the wrist the necessary freedom. 
Finish with a straight-arm circle. 
Repeat, reverse and execute with the left hand. 

• EXTENSION MOVEMENT. Fig.10. 

Raise the arm and point the club at an angle of forty five degrees 
upward, drop the club down behind the head and around until it is in 
a horizontal position, then straighten the arm, from this position drop 
the club and pass it down in front of the body and up to the changing 
point. 

Reverse the movment, making the club pass in the opposite di- 
rection. 

Execute in the same manner with the other hand. 



50 



CLUB-SWIXGING. 




INNER, LOWER WRIST-CIRCLES, IN FRONT. Fig. 12. 

From the straight arm circles swing the club around while the 
arm remains stationary and pendant, using the strength of the wrist 
and holding the handle firmly. Finish with the straight-arm circle. 
Execute the same with the left hand. 



CLUB-SWINGING, 



51 




OUTER, LOWER WRIST-CIRCLES, IN FRONT. Fig. 13 
From the straight arm circles swing the club around while the 
arm remains stationary and pendant, using the strength of the wrist 
and holding the handle firmly. Finish with the straight-arm circle. 
Execute the same with the left hand. 



CLUB-SWINGING. 




EXTENDED-ARM WRIST-CIRCLES, Fig. 14 and 15. 
Turn the club in the liand, horizontal, to the right or left above 
or under the arm, or forward or backward on either side of it. 

Let the club roll in the hand and endeavor to keep it perfectly 
horizontal or vertical. When swung in front finish with a straight- 
arm circle. Keep the arm stationary. 



DIAGONAL CIRCLES. Fig. 17. 
Swing the arm diagonal to the floor line, first on one then on the 
other side of the body. Vary by holding one arm out and swinging the 
other under it. 



CLiJB-SWiNGIN'G. 




V::3---::C^^ 



Fig. 16. 



HORIZOXTAL-CIRCLES Fig. 16. 
For the Outer Horizontal circle, hold the club at arms length on a 
line with the shoulder. Pass the arm to the front, giving the club a lialf 
turn outward so that the end of it will be under the cliin, complete 
the circle with the club, passing the arm to the opposite side, then back 
in the same manner. Understand that the arm makes only a half circle 
while the club makes one and a half. 

For the Inner Horizontal, turn the club in towards the face and a- 
cross to the opposite side, the arm moving as before. Make a half circle 
with both arm and club. 

This movement can be varied by making the club describe the 
circle on a line over the head, keep it horizontal as before. 

Finish with the lower half of the straight-arm circle. 



UPPER, WRIST-CIRCLE. Fig. 18. 

After a straight-arm circle, and when the arm is extended vertically 
let the club drop down and by a jerking movement of the hand make 
it describe a wrist-circle, then complete the straight-arm circle and 
repeat. 

Swing either to the right or left and repeat with the left hand. 



CLUB-SWINGING. 



55 




OUTER, LOWER, WRIST-CIRCLE. BACK. Fig. 19. 
Hold the club loosely in the hand or have the handle between the 
first and second fingers, turn the palm out. Start with a straight-arm 
circle, give the club sufficient force tocnrry itself around, allowing the 
wrist to turn with the club. Stop the arm suddenly, when down str- 
aight, make a wrist-circle with the club and finish with a straight-arm 
circle. Repeat, then execute the same with the left hand 



5ii 



CLUB-SWINGING. 




INNER, LOWER, WRIST-CIRCLE, BACK. Fio. 20. 

Start with a straight-arm circle, turn the palms to the rear, stop 
the arm suddenly when down straight, turn the wrist out and allow 
the club to describo a circle behind the back, the hand following the 
club to the centre of the back. 

Finish with a straight-arm circle. 

Repeat and execute the same with the left hand. 



CLUB-SWINGING. 



57 




STOP OR SLAP OX THE AR:^. Fio. 22. 
In bringing the arm to a liorizoiital position, allow the club to pass 
over and drop smartly on the arm and rebound, reversing the circle. 
Also by crossing tlie clubs wlien extended vertically and slapping them 
on the opposite arms, then throw tuem up again, reversing the circle, 
or extend them out to the sides. 

Also by throwing them up and dropping them over the head and 
finishing witli an extension movement. 



m 



CLUB-SWINGING. 




Fig. 21. Illustrates the manner of combining one or more circles 
into a distinct movement. 

Straighten the arm after each circle. 



CLUB-SWINGING. 



59 




FRONT BENT- ARM CIRCLE. 

Brin- the shoulder forward, hold the hand in front of the opposite 
shouldertturn the palm outcarry theclub around for a complete circle 
and finish with a Straight- Arm circle. This circle is made prmcipally 
by the action of the hand and wrist. Reverse, swinging with the other 
hand. * 



g^ DOUBLE MOVEMENTS. 



The double movements are simply FOUR different ways of com- 
bining the single circles. 

The circles described comprise all there is to club swinging. When 
they are thoroughly mastered with either hand so as to be swung either 
to the right or left, forward or backward and the same diagonal, they 
can with ingenuity and patience, be formed into an endless variety of 
beautiful, intricate and difficult evolutions, by combining the circles. 

Any number of circles can be formed into one combination by 
counting while practicing. 

In Single Time, count one for the circle of both hands. That is, 
in making a straight-arm PARALLEL Fig. 23, or CROSS movement 
Fig. 24, count 1, add a bent arm circle, count it 2, viz, 1-2, 1-2, etc. 

In Double Tiuu% couut one for each circle of each hand. That is, 
in making a straight-arm FOLLOW movement, Fig. 25, count it 1 and 2, 
add a bent-arm circle, count it 3 aud 4, viz. 1-2-3-4, 1-2-3-4, etc. Always 
count as many numbers as there are circles in the combination. 

The REVERSE movement Fig. 26, can be done either in single or 
double time, . 

The best method for learning the double movements is as follows. 
Hold the clubs iu the starting position, go through the movement sev- 
eral times with the right hand, then do the same with the left. Repeat 
making one circle less with each hand, and continue, making one less 
each time, until the movement is done once with each hand. Then 
•count the circles and proceed, counting as directed. 

When the movements and circles have been mastered sufficiently 
well to allow it. the interest in the exercise will be increased by ar- 
ranging a routine of movements so as to have them in groups, with 
all the changes which are in them, in the order in which they should 
come, with tlu' easy movements first and the most difficult last. 

To become an artistic and graceful performer, it is necessary to do 
every movement in perfect time and with the greatest precision thus 
combining grace and elegance. If the club is to be held perpendicular 
let it be exactly so ; if horizontal exactly horizontal Describe all the 
circles and sweeps squarely to the side or front, and do not swing too 
fast. Where you can have the benefit of a large mirror, it will be a 
valuable assistance in exhibitingdefects and correcting awkwardness, 
and it will also assist in developing countless variations and move- 
ments. The latter affording an ample field lor ingenuity and skill in 
combination, and with patience and perseverance, the pupil will soon 
become the*master of a beautiful and beneficial accomplishment. 



CLUB-SWINGING, 




CLUB-SWINGING. 




DOUBLE BENT-ARM MOVEMENT. Fig. 27. 
As an illustration of simplicity of the double movements the figure 
here shown will be a fair example. The movement shown is a com- 
bination of the inner and outer bent-arm circles. By crossing the clubs 
above the head a Cross movement is made. By swinging one in ad- 
vance of the other a Reverse movement is executed and by passing them 
both in the same direction a Parallel movement is the result. 



EXTEXDED-ARM CIRCLES. FiG.28. 

The figure illustrates the manner of doing these cirlces with two 
clubs. Swing the clubs 1st. Outside of the arms. 2iuL Inside. .Srd. to 
the Right of both. 4th. to the Left. Either Forward or Backward. 
They can be done Parallel, Cross, Follow or Reverse, in Front and at 
the Side. 



CLUB-SWINGING. 



63 




PARALLEL MOVEMENT. Fig. 29. 
This movement is a combination of tbe Inner and Outer circles, 

«onsVtl;;;i:r.enu.ntsarenoton,^^ 



64 



CLUB-SWINGING. 




FOLLOW MOVEMENT. Fig. 30. 
This movement is tlie same combination as tlie Parallel, the clubs 
following each other like the arms of a windmill, retaining the same 
relative position for a complete circle. 

A back circle either upper or lower must be added to allow the clubs 
to pass each other. 



CLUB-SWINGING. 




DOUBLE EXTENSION MOVEMENT. Fig. 31. 

The double Extension is a combination of half a Straight and half a 
Bent Arm circle, and can be done Parallel, Cross, Reverse or Follow, 
it can also be combined with any of the circles by doing the Extension 
with one club and the circle with the other, arranging the count, to 
allow the clubs to pass each other without breaking the time. 

These combinations of half circles should receive due attention as 
it is the only way to reverse from Right to Left or to change from one 
movement to another without breaking the time. 



CLUB-SWIXGIXG. 




CROSS MOVEMENTS, IXXER OR OUTER, Fig. 32. 

For the Inner Cross-circles, start by crossing the arms or clubsat 
tlie top of the circle and separating them at the bottom, coming to- 
gether and crossing as before at the top. 

For the Outer Cross-circle, start by separating the arms or clubs at 
the top and crossing them at the bottom. 

Combined with the Lower Back or Front circles this movement 
becomes very pretty. 



CLUB-SWINGING. 



67 




INNER REVERSE MOVEMENT. Fig. 33. 

The Inner Reverse movement is the Inner Straiglit and Bent-Arm 
circles combined, the arms or clubs crossing and separating at the sides 
of the circle. Start by swinging one half of a circle with one hand be- 
fore moving the other, then move both toward each other passing 
at the outermost part of the circle, repassing at the opposite side. 

To combine the Straight and Bent-Arm circles, as in the figure, 
start both clubs in opposite directions at the same time, make the right 
hand club describe a complete Inner Bent-Arm circle, while the left 
describe an Inner Straight-Arm circle, the club regaining the starting 
position together. Then repeat, making the left hand club describe 
the Bent-Arm circle and the right the Straight-Arm circle. 



CLUB-SWINGING. 




OUTER REVERSE MOVEMENT. Fig. 34. 

The Outer Reverse movement is the Outer Straiglit and Bent Arm 
circles combined, the arms or clubs crossing and separating at the sides 
of the circles. Start by swinging one half of a circle with one hand 
before moving the other, then move both toward each other passing 
at the outermost part of the circle, repassing at the opposite side. 

To combine the Straight and Bent-Arm circles, as in the figure, 
start both clubs in o'pposite directions at the same time, make the right 
hand club describe a complete Outer Bent-Arm circle, while the left 
describes an Outer Straight-Arm circle, the clubs regaining the starting 
position together. Then repeat, making the left hand club describe 
the Bent-Aj-jji circle and the right tlie Straight-Arm circle. 



CLV B-SWl NTG INGf. 




OVEK-ARM MOVEMENT. Fig. 35. 

TJiis movement is swung the same as the Inner and Outer Reverse 
movements and the same directions should be followed 

Throw the head well back and extend the arms to their greatest 
length to allow the clubs to make a graceful circle over the shoulder. 



70 



CLUC-SWiXGIJVa 




FRONT BEXT-ARM MOVEMENT. Fig. 36. 

For tills movement follow the directions, given for the Inner and 
Outer reverse circles. 

Extend the arms to fnll length and compress the shoulders forward 
to allow the necessary action of the arm, making the Bent-Arm circle. 



CLI/B-SWINGIN^G. 



n 




EXERCISE FOR HEAVY CLUB. Fig. 37. 
Stand with the feet well braced, as in tlie figure. From tlie Starting- 
Position raise the club and drop it over the head and let it hang behind 
the back, then reverse the movement passing the club witii arms ex- 
tend, around in front and up to a horizontal position behind the back. 
Vary the movement by passing the club to the right or left of the 
body. 



72 



CLUB-SWINGIXG. 




SECOND EXERCISE. Fig. 38. 

Raise the club, drop it over the slioiilder, extend the arm to full 
length, pass the club in a lull sweep in front of the body and as far up 
behind as possible, then reverse the movement, carrying the club to 
the Starting-Position before repeating. 

The movement over the head should be made principally with the 
wrist. 



CLUB-SWINGING. 



TS 




THIRD EXERCISE. Fio. 39. 
This exercise is similar to the preceeding one and for two clubs. 
Rais« the clubs from the Starting-Position, drop them behind the back, 
bending the arm as much as possible, then return them to the Starting- 
Position, make a Bent- Arm circle at the side and in finishing it extend 
the arms and make a full sweep In front, past the side and up behind 
the back to a horizontal position. Then reverse the movement and 
return to the Starting Position, 



H 



CLUB-SWINGING. 




STRAIGHT-ARM EXERCISE. Fig. 40. 
Extend the arm full length, pass the clubs in opposite directions 
bescribingfull circles. Reverse the movement. Vary the movements 
by swinging both clnbs in the same direction but having them at op- 
posite sides of the circle. 

Turn the body from side to side to assist the movement of the arms. 



rs 

DUMB-BELL EXERCISE. 



There is scarcely any exercise that cannot be assisted by the use of 
dumb-bells. Almost every muscle of the body can be used, the wrists, 
forearms, shoulders, biceps, back, chest, thighs and calves all are 
kept busy. 

In exercising, keep the head up breathe deep and full allowing the 
chest to expand to its utmost. 

In purchasing dumb-bells the same precautions should be taken 
as advised for Indian clubs. The exercises described in this book are 
for light bells, from five to ten pounds. If practiced by ladies and 
children wooden ones should be used. 

In addition to the exercises described, the bells can be used the 
same as Indian clubs, making circles in endless variety around the 
body. 

FIG. 1. Hold the bells at the side with the arms pendant. Draw 
the bells up to the arm pits, turning the wrist as far in as possible, 
Repeat this and all other movements until fatigued. 

FIG. 2. Hold the arms horizontally in front, pass them back on a 
line with the shoulders as far as possible, crossing the arms in returning. 

FIG. 3. Raise the bell from the pendant position to a line with the 
shoulders, turn the palm out and extend the arm vertically. Reverse 
the movement, resuming the first position. 

FIG. 4. Keep the arms straight and swing the bells over the head 
and as far back as possil>le, then reverse the direction and swing the 
arms down past the sides and up behind the back. 

FIG. 5. Hold the arms at the side, swing the bell out and up strik 
ing them together over the head. Vary the movement by swinging 
one bell up and the other down. 

FIG. 6. Stand erect, holding the bells at the chest. Step out to the 
side as far as ])()ssll)le. at tlx' same time extending the arms horizontal 
ly. Regain tlie Ihst i.osition and rt'itcat the movement on the opposite 
side. Vary the movement by stepping to the front and rear. 

FIG. 7. Stand with the legs well spread, extend the arms vertical! v, 
bend back as far as possible, then swing the bells down and as far 
between the legs as possible and up again. 

FIG. 8. Bend the legs and keep the back straight, touch the bells 
to the floor, straighten up and extend the arms high above the head, 
standing on tip toe. 

FIG. 9. Stand with the arms extended over the head, bend grad- 
ually down, as far as yon can, keeping the arms extended, then slowly 
resume the upright position aiul bend to the other side in the same 
manner. 



re; 



DUIVIB-BELL EX;ERCIS£. 




I \ 





Fig. 1. Fig. 2. Fig. 3. 





Fig. 4. Fig. 5. 



DUMB-BELL EXERCISE. 



Fiff. G. 




S;^ 




Fig. 8. 



Eig. 9. 



78 



FENCING. 



aft.,?f n "^Z? ^'"^'^^^ ''"^'•^''^^^' ^^"^'"- ^^^■^"^t receive the 

attent on ,t deserves as an art. It is a splendid exercise, developin-^ 
he calves tlnglKs, abdominal nn.scles, one shoulder, arn , wrist Tnd 
hand, and is excellent for the Inngs. It is nnequaled for g iv ng gra e 
nerve, quickness of eye and judgment, dasli and agilitv 
^ The author would impress upon the pupil the importance of be-in- 
ing properly o acquire this difficult art, for we promise you it will p.^^ve 
titl T f"l^^^^^"^"«^'^^"tif not practiced with attention and 

r.r fp'nr ' f 'Z r^''^'''^ ^''^^'^'^ beginning another and partic- 
ulai nttention should be given to the first positions 

The rudiments of Fencing consists in the working of the ri^rht 
saTeiy. '" '' '"' '""""""'' advancing, and retreating quickly and 

..hnll'" ^^'''''''J «^iS-gestious carefully followed will benefit the be- 
tZT^'.i I'T ^''''''''''^''^ properly protected with mask, jacket, 
gauntlet am glove and be sure that the foil is properly bnttoned. 

Be not atfected negligent or stiff. Do not get angry at being 
youJ^iw^'''" '**^''^''^'^'^'' ''''^'^' ""'"'^ be not vain of those 

In presenting the foils always give the choice to vour adversary. 
Never put youi-self within reach of your opponent nnless on guard. 

^ssa s n n"'" ^"' r' " ''"'• " ''''' '''' ''''''''' "^-ke no long 

assau ts. Do nothiug useless and endeavor to discover your opponent's 

ntent.ons and conceal yon own, in fact act more with jonr head 

hen hands Make your feints small. Never attempt to hit vour J^^ 

]^''^'^,^'''^'''^^;''}^''^y^^^yrne^^^^yonr opponent loses Ins 

.1 .1 pohteness, pick it up ami present it to him. Never make use of 

te eft arm nor nrn your back to your adversary. If possible join 

foils after every hit, ])revious to another attack. 

The Foil should be a qua.lrangular blade .S4 inches long from 
wilha. '• ^^r 'T' "" *'"^^' inarked'-«olingen"and sramp"d 
tw tPd r'"- Tlr ^'''•'''' '^''''''' ^^ ' ^"^'^'^"'^ ^""S and covered with 
twsted twine. The point of the foil should always be covered with 
gutta-percha or leather, the former is preferable and more convenient. 

fhP nnini 1 T\ \ ^'" ^"'^ ''^ ^''^ *'^'' ''' ''^^'*'' I'^'^'^^ ^^'^^ .substance on 
me point, heat it and mould it round with the lingers in water 



FENCING. 

To Advaxce. Take a short quick step forward with the right 
foot, following witli the left, and keeping the same distance between 
them as if making one movement with both. Keep the feet in tlieir 
in-oper positions, the knees equally bent, body erect, eyes to the front 
and the foil on-guard. 

To Retreat. Take a short (luick spring back with the left foot, 
following immediately with the right, planting it firmly on the ground. 
Keep the weight of the body equally on both feet. 

POSITION. Figs. 1, 2, 8, 4. 

Fig. 1. First Position. Face your adversary, the left breast turned 
from him, point your right foot forward, the left to the left, the right 
heel against the left ankle, body upright, hips drawn slightly back, 
head erect, hands hanging loosely at the side, the left holding the foil'. 

Fig, 2. Second Position. Bend the arm as high as the elbow, 
palm upwards, bring it across the body grasping the hilt of the foil,' 
thumb down. 

Fig. .3. Third Position. Raise both hands above the head, separat- 
ing them, hold the button of the foil with the left hand. 

Fig. 4. Fourth Position. The finish. This is done after thrust- 
ing in the Salute. Bring the left foot up to the right heel ; elevate the 
right hand under the chin, at the same time dropping the left hand to 
the side then straighten the right arm to the right side as low as pos- 
sible, knuckles downwards. 

THE SALUTE. Fig. 6. 
Before fencing for hits it is an established form of i)()liteness to 
Salute. It is also an excellent practice, as it prepares the body for the 
more energetic movements in the Assault. 

1st. Stand as in Fig. 1, with the foil in the left hand. Salute by 
presenting the right hand to your adversary as high as the chin, palm 
up, arm strnight. Take the second position Fig. 2. Raise the hand 
above the head as in Fig. ;5. Step out on guard right-high but keep 
your foil out of line with youradv(!rsary's body to the right, your op- 
ponent doing the same. Beat twice with the right foot leaving the 
body exposed, invite your adversary to thrust, at which he brin«^s his 
point in front and thrusts right high, but without touching vour body • 
his point should be at least an inch from your breast. This is called 
measuring distance. 

^ Your adversary having recovered, do the same by bringing the 
right foot up to the left ankle, the right hand brought und(T the chin see 
i^ig. 4, the left Jiand dropped to the side, From this position salute 



FENCING 



80 




FIG. I. 
First Position 




FIG. 2. FIG. 3. 

Second Position. Third Position. 




To liold the foil 




FIG. 4. 
Third Position, Finish. 



Position in LfMigciny- 



FIG. 5. 
How to hold the Foil in the 
Hand. 



FENCING. 

81 

the audience by turning the eye and foil to the left and right. Return 
the foil to tlie left hand and repeat the movements as before. 

TO HOLD THE FOIL. Fig. 5. 
Hold tiie foil firmly but not hard. The tliumb along the upper side 
of the hilt, tiie otlier fingers underneath it ; as shown in the engraving. 
In Thrusting, turn the nails up. 

OX-GUARD. Fig. 13. 

From the third position, Fig. 3. Lower the right arm and foil till 
the point of the foil is al)out on a line with your adversary's face, the 
elbow level with the waist and drawn inwards. The forearm and foil 
in a straight line. The left hand remains in the third position with the 
palm turned to the front. 

Bend both knees equally and advance the right foot to a comfort- 
ble distance so that the leg from the knee down will be perpendicular. 

THE THRUST OR ATTACK. Fig. 12. 
Straighten the right arm, raise the hand and direct the point of the 
foil at your opponent. Turn the nails upward, step forward with the 
right foot and straighten tlie left leg, taking care not to move the left 
foot. At the same time throw the left hand back to within a few 
inches of the thigh. 

Practice these movements thoroughly and often to give freedom to 
the joints. 

TO RECOVER. 

Bend the left knee, return the left arm to the position on-guard, 
resume the position of the feet, the weight equally divided Stand firmly 
though not stiff, with head erect. 

THE ATTACK. 

The Thrusts are four in number, as follows. 
Left-high, Right-high, Left-low and Right-low. These are varied 
by holding the hand with the finger nails turned up or down. 

THE DEFENCE. Fig. 7. 
The defence consists as shown in the diagram, of Outer-high, Inner- 
high, Outer-low and Inner-low parries. Thus avoiding the thrusts in 
the four lines of attack. Tliey are varied as in the thrusts, by the 
position of the hand and swords edge, in one case with the nails turned 
upwards, in the other wath the nails down. 

The following table shows the Thrusts and Parries for each, also 
the technical names of the thrusts or longes. 




FIG. 6. 
The Thrust in Salute. 



FENCING. <^„ 

For the Left-High Thrust, use the Inner-High Parrj-. Carte, nails 
up. Quinte, nails down, 

For the Right-High Thrust, use the Outer-High Parry. Tierce, 
nails up. Sixte, nails down. 

For the Left-Low Thrust, use the Inner-Low Parry. Prime, nails 
up. Septinie, nails down. 

For the Right-Low Thrust, use the Outer-Low Parry. Seconde, 
nails up. Octave, nails down. 

Parry the attack on the lelt-high, beneath his hilt. 

Parry the attack on the right-high, beneath his hilt. 

Parry the attack on the left-low, above his hilt. 

Parry the attack on the right-low, above his hilt. 

All of which are effected with the hilt of your foil upon the point 
of your adversary's, either by a sharp beat or simple pressure. 

When attacking or attacked ; as only one of the parries can be used 
at a time, the three others remain open for attack. For this reason 
all parries should be formed with a view of countering or attacking im- 
mediatly your adversary's blade is turned aside. To attain this end the 
two ways of holdng the foil allow a variation, that is the hails up or 
down. The foil blade follows the same line in either case, the differ- 
ence being only in the positions of the wrist, arm and elbow. 

THE SIMPLE PARRIES. 
Are made when your adversary disengages from right to left or 
high to low, and should be made with the slightest possible movement 
of the wrist and foil, nescessary to turn the thrust aside. 

COUNTER PARRIES. 
Are those which describe a circle round the adversary's blade, 
until it meets it again in the original line of engagement, and throw- 
ing off the attack in an opposite line from that in which it is directed. 

OPPOSITION. 
Opposition is where one blade is pressed against another. A good 
opposition is an essential feature in fencing ; as you are guarded at 
least on one side ; it also enables you to discover your adversary's inten- 
tion by the feel of his foil. 

THE ENGAGEMENTS. 

Crossing foils with an adversary is termed The Engagement ; when 
In attacking you he shifts his blade, as from right to left or left to right 
it is a disengage. 



FENCING. 



84 




FIG. 12. 
The Thrust or Attack, Left-high. 




FIG. 13. 
The Left-high Engagement, Inner-high Parry 



THE LEFT-HIGH ENGACxE. Fig. 13, 
Cross the foils about six inches ironi tlie button, oppose the ad- 
versary's foil sufficientlj- to prevent him from thrusting in theeno-a^^e 
Keep the finger nails up, the right arm bent inwards. The point "of 
3'our foil should be as high as your opponent's face, your right fore- 
arm as high as your chest. By pressing the hand to the left this makes 
the Inner-high parry. 

THE RIGHT-HIGH EXGAGE. Fig. 14. 

This engage, being:the opposite to the Left-high, differs from it only 
in the position of the hand, the nails being turned down, the toils joined 
as m the Left-high. By turning the hand to the right, pressin<^ out- 
wards, this makes the Outer-high parry. '^ 

LEFT-HIGH THRUST. Fig. 12. 

When engaged to the left of your adversary's foil, press with the 
hilt of your blade upon the point of his, thus forcing it out of line 
Straighten the arm, raising the arm and hand, lowering the point of 
the foil, turn the nails upwards, step forward from fifteen to eighteen 
inches with the right foot, and straighten the left leg by pressin^.^ back 
the knee. Do not move the left foot, which must be kept flat and firm 

At the moment of thrusting, lower the left hand to a point within 
a few inches of the thigh. 

Attention should be paid to the position of the legs ; the feet remain 
at right angles and the right leg should be perpendicular from the knee 
down. Keep the head and shoulders the same as when on-guard. 

THE SIMPLE INT^ER-PARRY. Fig. 13. 

_ Press the point of your opponent's foil off to the left by beating it 
with the hilt of yours, passing your arm across your body. Keep the 
foil in the position on-guard and turn the nails to the left. 

INNER COUNTER-PARRY. Fig. 8. 
When your adversary feints to thrust Right-high, follow his foil by 
making a small circular motion to a right until you meet it aoain in 
file same place. If he disengages a second time, take the simple'parry 
This makes a good and safe parry, as it stops most of the feints. 

COUNTER-PARRY AND RETURN. 
More hits are made by this means then by any other form of attack, 
therefore constant practice at it with an instructor or opponent should 
be had. Make a strong and proper parry that the adversary's blade 



rmKctKG. 




FIG. 8. 
Inner High-counter Parry. FIG. 9. 

Outer High-counter Parry. 




FIG. 10. 
Inner Low-counter Parry, 



FIG. II. 
Outer Low-counter Parry. 



FENCING. 




FIG. 14. 
The Right-high Engagement, Outer-high Parry. 




FIG. 15. 
The Left-low Engagement, Inner-low Parry. 



m 



FKlffCIKO- 



may be thrown out of line, then from the position of the parrj^ and 
without otlier movement than that of the arm ; tlirust in return. The 
movement of the foil should be continuous and become ahnost one 
action in its lightning rapidity. The return is generally delivered with 
the nails up, though there is sometimes an advantage in keeping them 
down. 

The return is generally made direct, but sometimes the disengage 
or cut over the point, can be used. 

RIGHT-HIGH THRUST. Fig. 17. 
Being engaged to tlie right of your adversary's blade, if he is not 
well covered, straighten your arm, lowering the point of your foil to 
his chest, thrust with the nails down, looking inside the arm. Keep 
the body upright, shoulders back, feet firm on the ground, left knee 
straight, right leg perpendicular from tlie knee to the ankle. 

SIMPLE OUTER-PARRY. Fig. 14. 
Turn your hand outwards movhig the forearm slightly to the right, 
toil in position on-guard. 

COUNTER OF HALF-CIRCLE. Fig. 9. 
In making an assault, if your opponent passes his foil over yours, 
follow by making a circle till you meet it again in a half circle, if he 
disengages again, take the simple parry. If necessary make the circle 
twice, keeping the hand well up and holding the foil firmly. 

COUXTER-PARRY. Fig. 9. 

Follow your adversary's foil to the left, in a circular movement 
meeting it again in the same line of attack. This being taken after a 
disengage, if your adversary disengages again, take the simple Right- 
high parry. 

Have tlie nails down, and be careful not to get too near your 
opponent. 

COUNTER-PARRY AND RETURN. 
After the parry, direct your point at the chest of your opponent 
either Right-high or Left-high. 

HALF-CIRCLE PARRY. Fig. 9. 

This is used after having parried high for a low thrust. Raise the 
hand as high as the shoulder, bend the arm, turn the nails upwards, 
draw the elbow in, parry with the point low. Return, thrusting Right- 
high. 



FENCUfd!. 




FIG. i6. 
The Right-low Engagement, Outer-low Parry. 




FIG. 17. 
Disengage from Left to Right and the Simple Outer-high 

Parry. 



00 

LOW THRUSTS. Figs. 15, 1(>. 
The low thrusts are similar to tlie higli in the movements of the 
hand and arm. Tiie point to direct j^onr foil at, is just under your op- 
ponent's sword arm. 

PARRY. Figs. 15, 16. 

To parry the thrust on tlie right, beat the point of your adversary's 
foil with the hilt of your blade, use the Inner-low parry of half-circle 
nails down, for the thrust on the left use the Outer-parry of half-circle 
nails up. 

Return all low thrusts with high ones. Hold the head well up, do 
not throw the body too much forward and recover quickly. 

COUXTER-PARRIESFiG. 8. 
Counter-parry all low thrusts the same as the high-thrusts. Counter- 
parry and return also the same. 

THE DISENGAGES. Figs. 17, 18. 
When your opponent presses your foil, lower your point to within 
two or three inches of his hilt, quickly passing it to the opposite side 
of his blade; straighten the arm and thrust. Recover in the original 
engagement. 

CHANGE OF ENGAGEMENT. 

The change, differs from the disengagement in the fact that it is a 
mere shifting of the foil from one side of your adversary's blade to the 
other without straightening the arm ; an attack upon his blade only. 
It is performed by a circular movement which carries your point under 
the hilt of his foil, to the opposite side. 

FEINTS. 

The feint of one, tvv^o, consists of disengaging from right to left 
or left to right, straighten the arm ; the moment your opponent uses 
the simple parry return to the opposite side, thrust and recover. 

The feint of one, two, thkee, consists of disengaging, from one 
side to the other returning again and then disengaging a third time. 

The LOW FEINTS are similar in action, drop your point under 
your opponent's hilt, principally by the movement of the fingers and 
wrist. 

TO THRUST AT ALL FEINTS. 
Eudeavor to confuse your opponent by beating the ground with 



FENCUTG, 




FIG. i8. 

Disengage from Right to Left and the Simple Inner-high 

Parry. 




FIG. 19. 
Left-low Thrust and the Inner-low Parry. 



f^2 li-K^cmo. 

tJie right foot, disengage without thrusting, extending the arm; by this 
means yon will discover what parries he intends taking and what 
tlirust you can safely make. 

WRIST PRACTICE. 

An excellent practice is for two persons is to counter right and left, 
as follows. Your adversary disengages on yon, take the counter, dis- 
engage without touching, he taking the counter on your disengage; 
repeat this for some time then reverse the movements. This practice 
will develop the two essential things of fencing; a strong and supple 
wrist. 

THE CUT OVER THE POINT. Fig. 21. 

When engaged on either side. If your adversary holds his hand 
low with the point high, raise your hand sufficiently to clear his foil 
without exposing your body. Cut the foil over his point and thrust for 
the center of his chest. If he parries, disengage under his arm and 
thrust on the opposite side. The cut and thrust should be made simul- 
taneously. 

Be careful that the body is well covered that you may not be hit at 
the same time. The same caution should be observed in the disengages. 

BINDING. 

When your blade clings to your opponent's as it turns with it, it is 
termed binding his blade. For an attack on this principle, draw your 
wrist in, sufficiently to oppose your hiltto your adversary's point, then 
suddenly from that position, bind your blade over his, and without 
quitting it, bring your point in a line with his body under the arm, 
thrust Left-low keeping the foil in opposition. 

THE TIME-THRUST. 

Time-thrusts are for the purpose of forestalling instead of parrying 
and their success depends upon their being timed exactly as your ad- 
versary is planning to execute an attack. When your opponent 
advances with his hand low, stretch the arm and thrust quickly, mak- 
ing sure that you are well covered yourself; if he forces your foil, 
disengage. 

Time-thrusts are made either in opposition or out of opposition ; 
blades crossed or not crossed ; those in opposition are less dangerous. 
There are also the time over the arm and time under it. 

Use the Time-thrusts only when your opponent unwisely exposes 
himself and you are certain that you will not get hit at the same time. 

TO PARRY ALL FEINTS. 
To confuse your adversary, vary the parries by making use of all 



FENCING. 




FIG. 20. 
RiGHT-Low Thrust and the Outer-low Parry. 




FIG. 21. 
The Cut-over-the-Point. 



tj4 FENCING. 

the guards and parries, counter-parries, and half-circles. In fact make 
as many movements as possible to deceive your opponent; but never 
deviating from the opposition on whicliever side you are engaged 
thereby running a risk of being liit wliile making the feints. 

THE ASSAULT. 

In an assault with the foils, the combatants should always be 
provided, with mask, jacket and gloves, and the foil should be properly 
buttoned. When you put yourself On-guard, endeavor to discover 
wliether your adversary intends to attack or defend; for this purpose 
take one step back, showing your point opposite his chest, it he thrusts, 
parry simple, should he feint, counter-parry, etc. 

Try not to let your adversary know your intention, by your eye or 
otherwise, keep changing to avoid this advantage which you may give 
him. Keep the head back in Thrusting. Always take care to be covered 
in whatever side you are engaged; if left, cover the body to the inside, 
if right, cover the body outside, observe the same rule for the low guards. 

PRACTICE EXERCISE. 
Fencers practicing without a master should go through a<thrusting 
exercise before commencing an assault. A simple exercise is here given 
for those who have learned all the movements. 

1. On-guard, engage Left-high, Disengage, Thrust, recover right 

2. Engage Right-high, Disengage, Thrust, recover left. 

3. Engage Left-high, feint one, two. Thrust, recover right. 

4. Same from right engagement. 

5. Engage Right-high, Disengage. The opponent Counter-parrying, 
follow him round. Thrust. 

6. Same from Left-high. 

7. Round to the right. Thrust, Round to the left, Thrust, 

8. Opponent Disengage ; Parry simple, Thrust. 

9. Opponent Disengage, Counter-parry and return. 

10. Engage Right-high, beat with the foot, Thrust. 

11. Same, beat, feint one, two. Thrust. 

12. Same; Left-high. 

In these exercises the pupil must endeavor to touch his opponent 
when he thrusts. By practicing this lesson you will in a degree, check 
the formation of awkward habits, which are apt to attend too constant 
fencing without intervening lessons from a qualified master. 

The following rules should receive careful attention. 

Engage out of the immediate reach of your adversary and always 
cross his foil, if possible, right or left-high. Regulate your guard to 
his height. 



FENCING. 

If your adversary will not cross blades, threaten him with the point 

hut do not thrust unless you have a decided advantage. ' 

If he raises his point, beat sharply and thrust.'' If vou have the 

advantage of reach, attack; if not, trust chiefly to tlie counter-parry 

and return. ^ -^ 

Be not confused when you find your foil jarred and crossed in an 
irregular manner. With a little practice you will see how to avoid 
this and profit by the irregularity. 

Whip along the blade on the k-ft or wrench over it from the ri-ht 
when your adversary engages with a straightened arm, or attempt's to 
arrest an attack by extending it. 

beat^'"''''"'''''^''^^'''''^'^'''"'^''"''^^' '''^'''" ^'''"'' ^l^P^^^^^^t attempts to 
Yield the wrist and blade to his action, without quitting his foil, 
when he attacks by circling the blade, for by yielding the wdst the foi 
IS brougnt round to the original engagement 

retu^;;::s?;;:r^"^""^^"^'^^"^^"^^' ^^^^ ^^ ---^^ ^^^- 

or not ^''^'" "'' ^"'''^'"" ''^ '^'^'''''' ''^^'' '"'^^ "'''^'^' ''''^^"^^^' «^^ccessf ul 

To plan an attack on your adversary ; feign the semblance of dis- 
engagement to find his usual manner of parryino-. 

If he tries that upon you, adopt some particular parry in order to 
draw an attack founded upon it, wiiich you will the i be prepared o 
meet ifnd turn to advantage. pi*^Prtieu lo 

Disengagements made under the wrist are more dangerous then 
those made cose along the blade. It is easier to cut ove? the point 
when your adversary's guard is low and his point high, because 50 r 
poin IS near o h,s point. And it is easier to disengage when yo r 
point IS near his hilt. ^ * ^^ ^^"^ 

Watch good fencers when ever you have an opportunity. 



GYMNASTIC EXERCISES. 



Ill the preceding exercises the development of particular muscles 
was secondary to attaining skill at them, the chief purpose in all of 
them being to out-do one's opponent. The Gymnastic Exercises aim 
directly at the improvement of the various parts of the muscular sys- 
tem, for by the judicious use of the gymufistic machinery the body 
gradually accustomsptself to the demand for muscular exertion, ex- 
pansion and compression. 

The practice of gymnastics not only increases bodily strength, but 
teaches the pupil how to to economize the power which he possesses. 
As the action of the body depends upon the co-operation of the muscles, 
skill and grace consists nearly as much as in the suppression of un- 
necessary movements as in acquiring dexterity in the necessary ones. 

THE HORIZONTAL-BAR. 

Fig. 1. Hanging by the hands. Keep the body straight, feet close 
together. 

Fig. 2. Hanging by the toes. Hang by the hands, bring the legs up, 
hook the toes over the bar, let go the Jiands, straighten the body and 
stretch the arms or fold thein. Draw the body up, take hold the bar 
with the hands , letting the legs down. 

Fig. 3. To get on the Bar ; gradually draw up to the chin, swing the 
leg up and throw it over the bar. Swing the hanging leg and bring 
the body above the bar. Keep the body straight and upright. 

Fig. 4. To chin-the-bar. Grasp the bar with the palms to the front 
draw tlie body up until the chin is above the bar, then lower the body, 
straightening the arms. 

Fig. 5. Forward Knee-Swing. Straighten the upper portion of the 
body, keeping the whole weight on the arms, throw the head forward, 
Plunge forward and p'-ound, keeping a tight hold with the hands, body 
erect, make a complete revolution round the bar. 

Fig. 6. Backward Knee-Swing. Throw the right leg back, at the 
same time slip the left leg down catching the bar in the bend of the 
knee, throw the head back, give a good swing, make a backward turn 
around the bar. 



HORIZOXTAL-BAK. 

97 

Fig. 7. Forward Doiible-Kiipe-Swing. Raise the body, let ll)e 
whole weight rest on the arms ; throw the chest out and head back, keep 
the legs rather straiglit, swing forward and entirely around the bar 
returning to the sitting position. 

Fig. 8. Backward Double-Knee-Swing. From the sitting position, 
drop back to the knees; fall backwards with arms extended, swing 
clear around to the sitting position, keeping a tight hold of the bar with 
the knees. 

Fig. 9. Backward-Circle. Keep the arms stiff, throw the body a 
trifle out from the bar thereby getting impetus to go entirely around. 

Fig. 10. Getting on the Bar. From the position in Fig. 1, take a 
small swing, throw tlie leg between the hands, give a good swing with 
the other leg and circle up on to the bar. 

Fig. 11. Slow Pull-Up. Get the hands well over the bar, hanging 
in fact by the wrists, raise the elbows and pull up and over the bar. 
Keep the legs well together. 

Fig. 12. The Roll-Off. Sit perfectly straight on the bar, l)ring the 
arms above the head and fall backwards, turning a partial somersault 
to the floor. Be careful not to draw the legs up ; and practice at first 
with a belt or mattress. 

Fig. 13. Pull over the bar backwards. Pass the legs through the 
hands, straighten the body draw up a little above the bar, and bending 
the body slightly, roll over the bar gaining a sitting posture. 

Fig. 14. Double Arm-Sv;ing. From the sitting position, straighten 
the body, put the arms straight down behind, slip down until the bar 
catches inside the arms, clasp the hands across the chest, create a 
swing with the legs and circle clear around the bar. This movement 
can also be reversed. 

Fig. 15, Pull over the bar forward. Draw up to the chest ; throw 
the head back, project the legs forward and upward, at tlie same time 
straighten the arms and as the legs pass over the bar pull up on the 
arms, coming up on the other side of the bar as in Fig. IG. 

Fig. 17, 18. Back and Front Horizontals. Hang in a horizontal 
position under the bar, keep the head well back and support the entire 
weight with the arms. 

Fig 19, 21. Giant-Swing. Throw the body up to nearly a hand- 
balance, bend the body slightly, get a good momentum, swing down. 
At the bottom of the swing, throw the head back, jerk the legs up, draw 
in the arms, thus coming up on top of the bar. 

Fig. 20. Lay-Out Somersault. From the Forward Giant-Swing ; 
when tJje body is horizontal, let go the hands, throw the head well 



HORIZONTAL BAR. 




HORIZONTAL-BAR. 

99 

back, chest out, turn quite around, alighting on the feet. 

Fig. 22, 23. Back Giant-Swing. Grasp the bar with the fingers 
under and the tliumb over. Incline tlie body forward until nearly 
horizontal, throw the legs up, arms bent, fall over, straighten the arms, 
swing around, come up again to the position of Fig. 22. 

Fig. 24. Snap-Up. Hang on the bar, bring the feet up to it, shoot 
the legs out as far as possible, draw the waist up to tlie bar, make a 
sudden change of hands ; bringing them over the bar and pulling the 
body over it to the position in Fig. 16, 

THE PARALLEL-BARS. 

Fig. 25, 26. Vaulting. Swing backwards or forwards, throw the 
legs over the side. Keep the body straight ami legs together. 

Fig. 27. Walking. Take steps with the arms as even and regular 
as possible, with the head up and body straight. Walk forward and 
backward. Perform the same movement by hopping with both arms 
at once. 

Fig. 28, 29. Pumping Movement. Throw the legs back, drop the 
body forward by bending the arms, swing the legs forward and when 
the legs are in a horizontal position in front, straighten the arms. 
Return in the same manner. 

Fig. 30, 31. Hand-Balance. Swing the feet forward to get the nec- 
essary empetus, swing them back and up to a vertical position above 
the headlbending the arms slightly to assist in keeping the balance, 
also pressing the head well back between the shoulders. 

Fig. 32. Hand-Spring. Swing the legs up, bend tne arms, let the 
body turn nearly over and spring off the bars by pushing on the hands. 

Fig. 33, 35. Slow Pull-Up. Place the wrists over the bars, raise 
the body slowly as high as possible, then turn the elbows out, change 
the grip and push the body up until the arms are straight. 

Fig. 34. Horizontal. Bring the head and shoulders forward so as 
to counter-balance the legs, holding the body parallel with the bars. 

FLYIXG-RINGS. 

Fig. 36. Extension. Draw up to the chin, hold one ring at arms 
length, the other close to the body. Change to the other arm and 
repeat. If strong enough spread both arms horizontally. 

Fig. 37, 38. Swinging exercises. Increases the force of the swing by 
drawing up the arms when ascending and straightening them when 
decending. Draw the legs over the head when at the end of the swing. 



HORIZONTAL AND PARALLEL BARS. 




PaRALLkL bars ANI> FLYI^rGi RINGS. 




.^ FLflNG-fiXN^GS, 



passing them back at tlie otlier end, by shootingthem quicklj% straiglit 
out. 

Fig, 39, 40. Swing and Snap-Up. Swing as before until asufficient 
force lias been gained, then at the end of the swing, snap-up the same 
as on the horizontal or parallel bars. 

VAULTING-HORSE. 

Fig. 41,42. Leg-Springs. Jump on the horse with the hands on 
the pommels; bring the legs to the kneeling position. Give a good 
spring, throw the arms up, alight on the ground on the opposite side. 

Fig. 43. Leg-Change. Support the weight of the body on the arms. 
Change the legs simultaneously, drawing one back and passing the 
other forward. 

Fig. 44. Saddle-Vaulting. Sit behind the pommels, bear the 
weight on the arms, throw the legs up, give a twist, describe a semi- 
circle with the legs, turning around facing the other way. 

Fig. 45. Vaulting through the hands. Take a short run, place 
the hands on the pommels, pass the legs through thehands, shoot them 
out in front, spring forward and alight on the other side. 

Fig. 46. Vaulting outside the hands. This movement is similar 
to the last. The spring should be greater and care should be taken to 
let go the pommels at the proper time. 

Fig. 47. Balance. Draw the body over one elbow near the stomach, 
raise the other hand holding it straight out over the head, assume a 
horizontal position. 

Fig. 48. The Roll-Over. Stand with the back to the horse, bend 
backwards grasp the pommels, lift the feet and bring the legs over the 
head, roll over on to the feet on the other side. 

Fig. 49, 50. Long-Vault. Take a run and spring on the horse 
vaulting clear over it. If convenient use a spring-board. 

Fig. 51. Hand- Balance. Swing up with the legs straight and arms 
slightly bent. Finish with a hang-spring otf. 

FLYING-TRAPEZE. 

Fig. 52. Hanging by the toes. Spread the legs, turn the toes out 
^nd catch the ropes by the feet. 

Fig. 53. Leg-Swing. Throw the legs over the bar ; get a good 
swing, hold tightly with the knees until you reach the other bar, then 
let go the legs and swing oif on the other bar. 



VAULTING ttORSfi 




FLriNG TRAPEZE 




TUMBLma 




m 



J'LYlNG-fiSAPEZEf, 



Fig. 54. Leg-Fly. Get a swing as before, let go the legs, stretch 
the arms, turning as shown by the dotted lines, catch the other bar 
and swing off. 

Fig. 55. Flying-Jump. From a good swing, dijaw up the arms, let 
go and catch the other bar. Jerking tlie body well forwrfrd, at the 
same time pulling well up and letting go the first bar, and springing 
to the second. 

Fig. 56.~ Flying-Somersault. Get a good swing; the higher the 
better; draw the legs up, throw the arms and liead back, and chest out, 
let go, turn a somersault lighting on the feet, on the floor or mattress. 

Fig. 57. Half-Turn-Leap. As in Fig. 55, get a good start on the 
swing, when opposite the stationary bar, give the head and slioulders 
a good twist at the same time pulling up on the arms; let go, make a 
half turn and catch the other bar. 



TUMBLING OK SOMEKSAULT THROWING. 

Fig. 1, 2. Leg Exercise. Hold one foot tightly in the hand and hop 
over it with the other leg. This teaches how to gather the body close 
in jumping, which is important in tumbling. 

Fig. 3. How to begin. Get a strong leather belt, with an eye in 
each side, into each of which splice a few feet of strong cord or rope. 
Buckle it around the waist, get a strong companion on each side to 
hold it and practice each movement until thoroughly mastered, before 
attempting to do without it. 

Fig. 4, 5, 6. The Snap-Up. Lie on your back with the arms above 
tlie head. Raise to position in Fig, 4, throw back on the shoulders, 
bringing the legs over the head and the hands to the ground, then 
make a quick spring from the hands and shoulders, throw the body for- 
wards and bring the legs quickly down and under the body. 

Fig. 7.^ Hand-Spring. Take a short run, getting a good spring, 
throw yourself on to the hands, bring the legs quickly over and spring 
off the hands on to the feet again. At the moment the hands leave 
the ground, throw them and the head and body forward. 

Fig 8, 9. Forward Somersault. Jump up and throw the head for- 
ward, desribe a circle with the legs and alight on the feet. This is 
greatly assisted by the movement of the arms, which should give 
the momentum to the body by throwing them smartly around and 
suddenly stopping them by catching the hands on the thighs or knees 
as in Fig. 9. 



fimMuma. 




Fig. 9 



Fig. 10 



Fig. 11 



-la. 



^^^^cxi^-^ 





- TtmSLt^G oil SOMfiKSAtTLT f HKoWll^rG. 

Fig. 11, 12. Tlie Flip-flap or Back Hand-Spring. Bend down, Jerk 
the head and arms back, bend the upper part of the Wie body back- 
wards, pitch over on the liands, drawing the legs upwards over tlieliead, 
tiien spring from the liands over on to the feet. 

Fig. 14, 15. Backward-Somersault. Throw up the arms at the 
same time taking a good jump, throw the head back, letthe feet go right 
over the head, catch the thighs as in Fig. 9, turn completely over and 
alight on the feet. 



SWIMMING. 



Swimming is one of the most enjoyable as well as useful of all 
athletic exercises, and one of tne easiest to learn. The only requistes 
being water and confidence. As to place, a sloping sandy shore without 
tide or current, in a secluded spot, is fully as good as a fashionable 
bathing place. 

Fig. 1, 2, 3. The movement of the arms. Walk into the water until 
it is almost as high as the chin. From the position of Fig. 1, pass the 
hands to the front ,as in Fig. 2, the fingers stiff and pressed together, the 
thumb held tightly against the fore-finger. Hold the hands together, 
the thumbs touching the palms, downwards, and the backs upwards. 
Spread the arms, turn the palms slightly outwards, bringing the hands 
towards the hips with a steady regular sweep. 

Fig. 4, 6. The Stroke. Lean gently forward in the water, give a 
little push with the feet and draw them up, pass the hands to the front, 
make the stroke Avith arms, at the same time spreading the legs and 
pushing them back, thus propelling the body forward. When the legs 
liave reached their full extent, press them together firmly, keeping 
them quite straight and the toes pointed. When the body begins to 
sink, draw them up and take another stroke. 

Fig. 5. Treading. Keep the body perpendicular, and make ex- 
actly the same stroke with the legs as in swimming on the chest. 

Fig. 7. Swimming with a preserver. Make a bag of cloth, fill it 



SWIMMING. 

10.) 

with corks or chips, tie it securely under the arms. Then practice the 
movements as directed. 

Fig. 8. Swimming with a plank. Get a short thick plank, and, 
holding it in front with the hands, propel it forward by kicking with 
the legs as in ordinary swimming. 

Fig. 9. Swimming on the back. Lie on the back, paddle gently 
with the hands and kick out -smartly with the feet, spreading them 
wide apart and bringing them together again. Be careful to keep the 
hands well under water, the spine arched and the head pressed back 
between the shoulders. 

Fig. 10. Over-hand Stroke. In making this stroke the swimmer 
should start upon the right side ; thrust the right arm forward and as it 
is brought back, thrust forward the same with the left hand. The 
swing of the arm should be just above the surface of the water, the 
hand dipping into it when the arm is stretched to its utmost. The 
action of the feet being similar to that of swimming on the chest. 

Fig. 11. The Side-Stroke. Lieon the right side, stretch the right arm 
forward, keeping the fingers quite straight, the hands held edgeways; 
to cut tne water like a knife. The left hand placed across the chest, 
with the back against the right breast. Kick out with the legs, and 
before the momentum is lost, bring the right hand round with a broad 
sweep until the hand almost reaches the right tliigh, atthe same time 
making a similar sweep with the left hand, but carrying it back as far 
as it can go. 

Fig. 12. Floating. Lie on the back, legs straight, hand at the 
side. Arch the spine and let the head sink well back. In this attitude, 
movingneither hands nor feet; the body cannot sink lower then the 
lips and the eyebrows, leaving the nostrils free for the passage of air. 

Fig. 13. Diving. Take a short run and leap head first into the 
water. Join the hands over the head, keep the body quite stitf with 
the arms and legs in a straight line. 



no 



ATHLETIC SPORTS. 



Athletic Sports, under which designation we class feats of 
pedestrianisni and of hurling lieavy weights, but not oarsmanship or 
proficiency in pastimes, were popular pursuits at schools many years 
before they were taken up by the Universities, or before athletic clubs 
were formed among adults. Highland games use to be performed at 
the Annual Caledonian Meetings, and to son.e extent the programnie 
adopted atthese gatherings formed tlie basis of the listof feats practised 
in school athletics, with thechief exception of Tossing tlie Caber, a feat 
whicli is essentially Caledonian. It will be seen, therefore, that some 
remarks and suggestions on this subject are especially in j)lace in a 
work designed for young men. 

The usual programme of an athleti sports contest runs very mucli as 
follows:— Short distance race; long distance ditto; one or more races 
at intermediate distances; a hurdle race; higli jump and broad jump, 
with sometimes a pole jump; putting the shot; and throwing the 
hammer or throwing the base-ball. This last now seldom finds place 
in programmes among adult athletes. The usual sprint distances is 
100 yards. A mile race is most common and sometimes there is also 
a two or three mile race, and a steeplechase in addition, as a still 
f uther test of stamina. A quarter-mile or (500 yards, and half-mile race 
will also be often found, fortliebenefitof those who can combine speed 
with a certain amount of stamina. Sometimes there is also a walking 
race. 

SPRINTING. 

Under this head are classed races whicli do not exceed 440 yards. 
In order to prepare himself for a hundred yards race (irrespective of the 
training, of which we shall treat generally in due course), the candi- 
date cannot do better then begin by steady walking exercise, at a 
medium rate of three and three-quarter miles to four miles an hour, of 
about five miles in the day, to liarden his muscles. He may run about 
200 yards twice during his walk, but should only run briskly, not 
violently ; while he is "soft" it is a great mistake to put any undue 



ATHLETIC SPOUTS. 



Ill 



Strain on the ligaments of the body. As he becomes firmer in 
muscle, he may reduce the distance which he runs, and cover it more 
rapidly, until he can run the actual 100 yards at top speed. Still, 
it is wise not to run the course every day at his very best; the squeez- 
ing the last ounce out of the powers of the body too often tells a 
tale, even in so short a spin. If he runs the distance within two or 
three yards of his best powers this will do for two days out of three. 
Every third day he may see what he can really do., and try for him- 
self whereabouts in the course he best makes his one principal 
rush. A 600 yards race is not often run at a homogeneous pace; 
there is some space which the runner covers at greater speed than 
any other. The runner should practice starts, which are all im- 
portant In a short spin. He should stand thus: one foot (left for 
choice), about its own length and three inches more in front of its 
fellow% the body upright, and all the w^eight on the hinder foot. 

QUARTER-MILE RACE. 

This is about the severest course which can be run; it requires 
both pace and stamina. The competitor shf)uld practise walking 
exercise in the same way as for shorter distance preparations, but 
he should run the racing distance only once a day, and not run the 
full distance at first; 250 yards will do to begin with, and this he 
can increase as he gets fitter till he reaches full distance. He should 
not run himself quite out more than twice a week, and should not 
do the whole course at full pace within three or four days of his 
race ; during the last day or two starts of 50 yards, and spins of 120, 
will suffice to keep him in trim. For a half-mile he should prepare 
himself in much the same way but should double the preparatory 
and practice distances, beginning at 500 yards early in training. 

MILE RACING. 

For this more preparatory walking exercise is wanted, and the 
mile should be run daily at first, but to commence with, the pace 
should be little more than a jog, at about two-thirds of the runner's 
real powers. The speed may be increased as practice progresses, 
but the full distance should not be run out to the last gasp more 
than once a week, and uo^ at all within four or five days, or even a 
week, of the race. The same for two miles, only that a still longer 



.-jr, ATHLETIC SPOKTS. 

rest is needed between the last trial at full speed and the day of the 
race. 

HURDLE RACING. 

This class of race is too much reduced to a sort of " sleight-of- 
toe" among grown athletes. Tiie distr.nce and jumps are usually 
uniform— 120 yards and ten flights of hurdles, three feet six inches 
high, and ten yards apart. The runner practises his step for these, 
and would be quite thrown out if the distance between the flights 
or their height were suddenly varied unknown to him. With grow- 
ing boys there is less likelihood of the science of taking the hurdles 
in the stride becoming so studied, for their stride and strength arc 
daily varying with growth. Adults usually do the "three step'' 
movement, which has superseded the "four step." They "buck" 
the hurdles, trotting over them and not jumping them, lighting on 
the opposite foot from that on which they took ofl', and going on 
thence in their stride. Older boys may adopt the same step with 
advantage; mere lads will not have stride enough to cover the dis- 
tance between the hurdles in three steps; they will be forced to run 
and jump, instead of " bucking." The best thing that they can 
practise is to alight after each jump on one foot only, and to step 
on with the next, taking ofl" for the new stride with the foot on 
which they land. To learn this " bucking" step the runner should 
commence with low hurdles the regulation distance apart, and hav- 
ing acquired the step both as to take otf, landing, and continuation 
of the stride, then increase the height until he can do the trick over 
full-sized obstacles. He can lower the hurdles by sloping them. 
He may prepare himself as to exercise in the same way as for 100 
yards racing, and similarly practice starts. 

For a steeplechase the runner should combine the jumping prac- 
tice of hurdle-racing with the preparation for long-distance running. 

JUMPING. 

This is a feat wiiich has greatly progressed with practice of 
late years. A quarter of a century ago any o::e who could jump 
five feet was looked upon as a wonder; and four feet eight inches 
often won a college or public school competition. Now those who 
have a speciality for it practice it so much that they soon add a foot 
or two to their range. The competitor requires to get himself as 



ATHLETIC SPORTS. 

113 

light as he can, and to avoid all lieavv ,vork with arms and back 
wh,ch may develop mnscle where not wanted for jumping The 

daily, but never tire himself. The amount of run he takes to a hi.l 
jump IS very much a matter of taste, but a d„zen steps usuallv suf 
flee To time the •• take ofl- is the great art, and the dista ce for 
taking off should be half the height of the ump. in CZ Z 
bar. The egs should be tucked well up, and the whole body thrown 
forward with just sufficient force to clear the bar, but all th res" 
of the power should be expended on the upward spring 

pegs r^f"an tc,'"''' 7"' T"' """^ '°' ""' ''"'^ ^°-'' '» ^^-it 
pegs, half an inch apart, with a light cross-bar laid on them are all 

measured and-a piece of paper may be laid down to mark (he lake 
off, until the eye gets used to the distance. The starting off and 
landing should both be from the toes. 

In wide jumping the best practice is to cut a gutter in the turf 
whence to take off. Twenty paces suiBce for Ihe run The chief 

tt /;;:':! t7 f ^^^ ^p™-' °f ">« p-- of sprm., is .o so tii 

the step from the beginning of the run that the last stride before the 
spnn, may ttnish close on the edge of the take off, 'wtborany 
necessity for shortening the stride to make it fit, eUe impetus's 

POLE JU.MPIXG. 

ine '^'^j7';'V7P"f-''"^"'^ i^ different from practical pole jump, 
roth , ""■ "" '""'^''^ '"''"' ""^ Po'e and throws it 

n ,1 iZTc ™"'''''" "'^ '""•'- ""'^ - ^''^ '" his Tmpe us 
in Ihe latter, crossing a country, (he pole is retained, and drooned 
over he obstacle with the jump. A 12.foot pole, of ash (or p „e ,or 

s ide tofh. 7^"' '"*'"' ^■^""'d be uppermost which is on the opposite 

^ef^n ,.,'"" "■'''"' ""^ P"P" <='"^fl>' '^kes his spring- * 
Ihe foot which last leaves the ground. The lower hand shfnld h^ 
about the height of the obstacle: (his teache «ie pup ,t Ti ft h i 
whole body as high as his hands on each spring. Thl no e hould 
be held straight in front, and in a high jimp^on the r'i the fe 1 



ATHLETIC SPORTS. 

should be thrown lo the outside, the whole weight on the hands, 
back and shoulders stiff, so as to admit of the body being like a bar 
of iron, and horizontal as it passes over the bar. As the pupil pro 
gresses he will be able to elevate his whole body higher than his 
his hands at the moment he clears the bar. A good jumper will 
clear more than the hight of his pole. Swinging his whole body 
over, supported on his hands, and then springing with the hands 
off the pole as he quits it, he will clear his arms of the bar. In 
wide jumping (especially at a dyke, in the manner in vogue in cross- 
ing the fens), great care is necessary to keep the pole straight in the 
line of spring, else, if the jump is to one side there is a risk of a 
fall in the water. So long as the pole is straight in front the body 
rises for the first half of the jump, and when it has reached its great- 
est elevation, its own weight takes it over; but if the pole stands to 
right or left the full elevation is lost, and so is the final swing of 
descent which bears tiie body to the further shore. The feet should 
be carried well in front in the broad jump, not swung round as in 
clearing a height. 

THROWING THE HAMMER. 

This sport is Caledonian in origin. The regulation hammer is 
161bs., and handle three feet six inches long; but boys require a 
lighter one. The most effective way of throwing is to swing the 
hammer round the body twice, the arms fully extended, and with a 
run, swaying the whole body with it in the last half-turn, then let- 
ting it go. The requisites are: — 1. To let go in the right direction; 
2. Not to lift the head of the hammer higher than the hands in the 
swing; 3. To time the step to the take off. It is a dangerous feat 
to be practiced by a tyro within range of spectators; he may let the 
hammer go at the wrong moment, and in the wrong direction. Seven 
feet is the regulation run. Plenty of dumbbell exercise helps to 
harden the muscles of the arms, shoulders and neck for this feat, 
and for the next one mentioned. 

PUTTING THE SHOT. ' 

Sixteen pounds is the full-size shot for this feat, but 3''0ung boys 
require a lighter one. The regulation run is seven feet, and the 
feet should not pass the "scratch " at or after delivery. The " put" 



ATHLETIC SPORTS. ^^^ 

must be with one hand (the right, as we presume the student to be 
right-handed). The left may be used to adjust the shot in the palm 
of the right; it may steady the shot there till the moment of de. 
livery, and then must quit it. The putter stands on his toes, left for- 
ward, and takes a rise or two on his toes to get up swing; then he 
steps off with his right, and takes two hops on his left leg; on land- 
ing from the second hop he strides on with his right, and delivers 
the shot just as his right foot comes down. Then he must stop his 
body and not cross the line, else it is " no put," though it counts as 
a "try." 

THROWING THE BASE BALL. 

Hardly a schoolboy is unable to throw, yet the strongest arm is 
not always the most propelling for a throw. The secret of throwing 
is to keep shoulder, elbow and wrist joints all loose wiien the arm 
is drawn back ; then to hurl out the arm, to let all three joints 
straighten simultaneously, and to let the missile quit the grasp at 
that juncture. If any one joint straightens before the other, or the 
delivery is not timed to coincide with the triple straightening, power 
is lost. A run adds impetus to the throw. 

TOSSING THE CABER. 

This is essentially Scottish, and seldom, if ever, finds its way 
into American athletics. Nevertheless, a description of it is neces- 
sary to complete the series of feats. The '* caber '' is a spar, or rather 
beam (a young tree), heavier at one end than the other. It is held 
perpendicularly, small end downwards, and balanced in the hands 
against the chest; then with a run the athlete " tosses'' it, so as to 
make it fall on the big end and turn over. The "caber" is usually 
so big at lirst that no one can toss it clean over. If all fail, then a 
bit is sawn off, and another round is tried by competition, and so 
on until some one turns it clean over, so that the small end lies away 
from the direction whence it came. If more than one tosses it 
over, the 3traightest fall and fartherest toss wins. 

HARE AND HOUNDS. 

This, or what is called a *' Paper Chase," is an old-standing 
school recreation, which has at last developed into a sort of athletic 
sport — i. e., the competitors train for it, run against Father Time as 



116 



ATHLETIC SPORTS. 



well as against each other, and are just as keen to beat each other 
in the run home, and even more so, than to catch the "hares;" in 
fact, the object of this game rather plays second fiddle among the 
hounds. Metropolitan and other athletic clubs have taken up the 
pursuit, as well as public schools. Formerly the fun of a *' paper 
chase " was to explore new country for each hunt ; but when rivalry 
of records of " time" began to establish itself, standard courses be- 
came more popular, and the interest of finding the way over a new 
line became subservient to that of competing against the best re- 
corded pace of former performers over old lines of country. The 
sport is now nothing more or less than a steeple-chase on foot be- 
tween the hounds. 

In running a course of this sort, no "hound " can expect to take 
his fences in his stride, or to jump the majority of them at all. 
They are not made-up fences, such as are found on a regulation 
steeple-chase course of artificial creation, but are the hona-fide land- 
marks of enclosures, and would often prove too much for even a 
good hunter, unless the rider carefully picked a weak spot. The 
best costume is a sailor's guernsey, which leaves the arms free to 
play, keeps the body warm, and at the same time ventilates it; be- 
low, flannel trousers, the ankles and calves of them tucked into 
stout worsted stockings, gartered outside. This protects the legs 
against thorns better than mere stockings below knickerbockers, 
and the thorns in a hedge that has to be pierced through are no joke. 
Spiked shoes are better avoided ; they are well enough on a running 
path or on turf, but over sticky ploughs they carry mud to the soles 
and impede the runner. The best shoe is a brown leather or leather 
and canvas " rowing'' shoe, or what would be a lawn tennis shoe 
but for having a leather mce an India rubber sole. The runner does 
not want to run on his toes, but nearly flat-footed all the way. 
Judgment of pace is, next to training, the most important requisite 
and this the runner can learn only by experience. The most dis- 
tressing part of the run is often the early part of it, when first wind 
has gone and second wind has not come again With second wind 
a good-plucked one strides along merrily. The pack should keep 
together, if only to hit otf the "scent" at checks, during the early 
part of the run; if they want to run jealous, the last mile or two, 
when they have rounded in sight of home, is plenty of time to begin 



ATHLETIC SPORTS. 

to race for the honor of pride of place. Tlie "scenl'' is paper torn 
small, and strewn by the hares as they go. It is carried in canvas 
bags, and to ensure a pace one of the two hares can run a section of 
a circle, while the other cuts the arc and meets him at the end of 
the curve; then the one who has been husbanding his powers can 
take up the pace, while his colleague in a like manner cuts across 
to meet him. 

Long runs, steady exercise, careful diet, and especially early 
hours of bedtime, are requisite to prepare for a severe Hare and 
Hounds match. The best "sprinter" is often nowhere at the end 
of a mile or two of heavy ground in a run of this sort, and nothing 
but pluck and stamina combined bring the leaders to their places 
of honor at the finish. 

WALKING. 

Boys seldom have walking races. The gait of a walking race 
is ungainly, and is more exhausting than a run of greater speed. 
The walker ties himself down to an action of limb which abandons 
all spring and impetus. In a run he flies through the air between 
the touch of alternate feet on the ground, and takes off with a 
spring from a bent knee. In a walk he must progress " heel and 
toe." The heel must touch the ground first, and one foot must al- 
ways be on the ground, else the gait becomes a run. The knee 
must always be straight when the foot is put down and taken up. 
The chief art in walking is to "twist the hips." By twisting them 
at each step the stride is kngthened, and the leg carried forward by 
the swing of the loins, to the relief of the ordinary muscles which 
extend the leg. 

DRESS. 

With the exception of Hare and Hounds, for which we have 
already specified the most suitable dress, the costume to be recom- 
mended for atliletic racing is as follows:— "Zephyr " jersey and 
cashmere "drawers" (which are, in fact, loose easy trousers cut 
short just above the knee-cap). They should be loose enough to 
allow the knee to bend freely, and not to hamper the extention of 
tlie leg in the stride. No braces, but a buckle to support them. 
They fit better round tlie waist if the top is worked in a waistband 
of itself, with two buttons, and a buckle to adjust the girth. A short 



ATHLETIC SPORTS. 
118 

sock, barely reaching to the ankle-joint, elastic, of knitted wool 
The shoe should be easy, no heel, the sole well covering the foot, 
and spiked. The spikes should be thin and sharp, so as to give a 
good footing, and yet not to stick in the path. No spike in the heel 
is best, and five spikes in the toes. In all short-distance running, 
the runner moves only upon his toes. The shoe should lace close 
round the instep, but should not pinch in any way. The athlete 
should keep well clothed in flannel wraps till the moment he is 
wanted to go to the post. On a chilly day it will greatly improve 
the play of his muscles if he can get some friendly attendant to 
stand behind him and chafe his calves to the last moment allowed. 
In ordinary practice thf runner may with advantage wear a 
woolen woven guernsey ovef his jersey, which he can peel off when 
he wants to run against time. He will find it convenient to have 
a pocket worked in the breast of his guernsey for his handkerchief, 
so as to be independent of his coat pocket, while taking his train- 
ing runs. When he is only taking walking exercise, his flannel 
coat will not be out of place. It should be borne in mind that flan- 
nel is Vie attire for all violent exercise ; that the body should never 
be allowed to chill afterwards; and that it should be well rubbed 
down, until the skin is clean and dry, before every-day attire is 
resumed. 

WHAT TO ATTEMPT. 

Each athlete has some strongest point. Many do not know what 
their best feat is. A man may run quarter miles for ages, and be 
only second rate at them, and suddenly find that he is really first- 
class at a mile. The pupil cannot too soon find out where his forte 
lies, and devote himself only to that. Also, in his special distance, 
he should ascertain by trials against the clock, and finally trial 
horses, where to make his chief effort — beginning, middle or end 
of the course. No boy should attempt severe feats of endurance if 
his family are constitutionally delicate— at all events, until he has 
been examined and passed sound by a doctor. Nor if he feels pal- 
pitation of the heart, or coughs after a run, should he persevere in 
training himself for running. 



BOXING GLOVES 




We N\ ould call special attention to those interested in the 
manly art of self-defense, to our superior line of Boxing 
Gloves. We have arranged with the leading American 
manufocturers of these goods to make for us an extra qual- 
ity of gloves, out of the very best material, and on the latest 
improved patterns. Contracting as we do, in very large 
quantities, we are enabled to offer our customers these su- 
perior gloves at comparatively low prices, and can recom- 
mend them as superior to any other glove on the market. 

Each g-love will bear our trade-mark to insure its g-enuineness, arrd 
will be known as " Spalding's Trade-marked Boxing' Gloves." 

PBI€£ £ilST. 

Per Set ol 
Four Gloves. 

No. lo. Boys' size, well stuffed, and tan colored palms $2 50 

No. 15 Men's size, same as No. 10 300 

No. 20. Men's size, well stuffed and extra tan leather, palms' 

and wrists bound with fancy leather 4 00 

No. 25. Men's size, same as No. 20; heel padded 4 50 

No. 30. " " same as No. 20; finer quality 450 

No. 35. Same as No. 30; heel padded 500 

No. 38. Fine Quality, strongly sewed and full padded, and 

stronsr tan leather palms 5 00 

No. 40. Superior Quality, same as No. 38, only finer made 5 50 

No. 45. Same as No. 40; heel padded 600 

No. 50. Kid Glove, with tan-colored leather palm 15 00 

No. 55. Kid Glove, with best buckskin palms 600 

No. 60. Finest Kid Gloves, with ventilated palm 7 00 

No. 65. Same as No. 60; heel padded 7 50 

No. 70. Chand er's Pro essional Kid Glove, for sparing- sparr- 
ing exhibitions, being small and compactly stufled 7 00 
No. 75. Prize Glove; handsomest Boxing Glove made; large, 

and full pAddQd;/attcy tritmneii 10 00 



i2xri3i-A-:Kr oxjxjjss. 



^Sjs 



^ 



iNQiArJ 
CLUBS 



Made to 
Exact Size 
and Weight 



In introducing- our new Trade-marked Indian Clubs, we would call 
special attention to the perfect shape, beautiful ebony finish, and correct 
weii^ht of each club. We select the very choicest timber for these 
dubs, turn them by hand, and work each club down to the exact troy 
weig^ht, and this care in making, together with the beautiful ebony fin- 
ish, highly polished, and banded in g;old, with nickel-plated heads, 
makes them the most beautiful and desirable Indian Clubs ever placed 
upon the market. We purpose keeping- these clubs up to the very high- 
est grade, and to protect ourselves and customers against cheap imita- 
tions, our trade-mark will be stamped on each ckib, as represented in 
the above cut. The following- very low prices will make these clubs 
very popular. With every pair of Indian Clubs bought direct from us, 
we will give B- nedict's large chart on Indian club swinging-, a valua- 
ble instructor to the amateur club swinger. 

Prices of Spalding's Trade -marked Indian Clubs. 

Weight. Per Pair. Weight. Per Pair. 
2 lbs $1 50 3 lbs |2 00 

4 " 225 5 " ..275 

■^ " 300 7 " -.350 

5 " 40010 " 500 

Address A. C. SPALDING & BROS., 

108 Madison St., Chicago. 



WHITE MAPLE INDIAN CLUBS. 



Greatly reduced prices on our first and second quality Indian Clubs. 

Our first quality Indian Clubs are made of clear, hard maple, after the 
Benedict model, lathe polished, and first-class in every respect. These 
clubs are all turned by hand, and finished up in the natural color of the 
wood, with an ebonized band around the body of the club, and also eb- 
onized knob, mounted with a large nickel-plated head. 

Our second quality are made the same shape as the first quality, but 
of timber which is not suitable for the first quality clubs, and have some 
checks and knots. They have a varnish finish, and compare favorably 
with what other dealers -will sell as a first quality club. 

Weight. '^\§"ii!i7- '^3^^' 



,, Per Pmr. Per Pair. 

'<, ' *i oo S 75 

., 1 25 I 00 

75 I 25 

50 



3 " 

4 '' 

5 ^j 260 

7 « 22s I 75 

6 ,1 — ; 2 75 3 00 



9 :: 32 



3 00 2 25 



Vi po 



3 75 3 00 

WOODEN DUMB BELLS. 

Polished maple of our own manufacture. 

ind each per pair » ^ 

!." 60 



75 
I 00 

I 2C 



These Wooden Dumb Bells are especially adapted for Ladies' School' 
and Kindero-artens. 

IRON DUMB BELLS. 

Any weight from 3 lbs. to ino lbs., pLr lb., 6 cts. 

SWINGING RINGS. 

Made of three pieces of wood g-lued together, per pair . $ >7e 

Iron Swinging Rings, leather covered,' 6 inch, per pair'. '. '. ". .' .' ." .' .* . '. '. '. 3 00 

^ " " 3 50 

WANDS. 

Made of Black Walnut, per doz $3 00 

ENGLISH MODEL IRON QUOITS. 

4-}4 inch, per set of four G .-,- 

e II <i i( •!!» /5 

|4 :: :: ;' ::::::::::::::::::::::::;;;;::;:::::::::::: .^ 

A. C. SPALDING Sc BROS., 

(08 Madison St., Chicago, III. 



^^OPTEO BY fV\«- 

"'AGUE BA 



No, 



SPALDING S OFFICIAL LTi:AGUE BALL, as adopted 

by the National Leagfue for 1883; each ball wrapped in tin Retail 

foil, and put in a separate box, and sealed in accordance with Each. 

the latest Leag-uerej^ulations $1 So 

Spalding's Professional Dead, White or Red i 25 

Spalding's Amateur Dead, White or Red i 00 

Spalding's American Club, White 75 

Spalding's King of the Diamond, White 50 

Spalding's Grand Duke, White 35 

Spalding's Boy's Favorite, White 25 

Spalding's Eureka, White 20 

Spalding's Rattler, White 15 

Spalding's Boss, White : 10 

II. Spalding's Nickel Ball o? 

Clubs or dealers ordering- one-half dozen balls at one time are entitled 
do7 en rates. 



No. 2 

No. 3 

No. 4 

No. s 

No. 6 

No- 7 

No. 8. 

No. 9 

No. 10 
No. 



Per 

Dozen. 

$15 00 

12 00 

9 00 

7 SO 

5 00 
3 50 
2 50 
2 00 

I SO 

I 00 

SO 

to our 



A. G. SPALDING & BROS.. Manufacturers, 

108 Madison Street, CHICAGO, fLL 



THE OFFICIAL LEAGUE BALL FOR 1883. 

" Spalding's LeagTie Ball " enjoys the very hig-hest reputation among- the base 
rm/l players ot America, as evinced by the fact that over loo.ooo of these balls 
have been sold during the past three years. In every championship game played I 
by Leajj-uc Clubs during- the past five years, this ball has been used, and has given j 
such universal satisfaction tliat it was unanimously adopted by the National League | 
and Northwestern League as the official ball for i'SS3. By the new rules, in every 
mat :h g-amc played under League Rules, of which a record is kept, this ball must I 
be used. It is made of the best materials, in accordance with the latest League 
requirements, and every hall warranted to last a game of nine innings witliout 
ripjiing or losing its shape. Dewahe of Cheap Imitations. None genuine 
without our trade-mark on each box and ball. 



''^y 



THE OFFICIAL BALL FOR 1883. 



As certain unprincipled manufacturers of inferior goods are en- 
deavoring to convey the impression that other than the " Spalding League 
Ball " has been adopted as the official ball for 1SS3, we print the following 
certificates which explain themselves 



Certificate from N. E. YOUNG, Sec'y of the Nat'l League. 
I hereby certify that Spalding's League Ball, manufactured bv 
A. G Spalding & Bros., of Chi- 
cago, has again been adopted as 
ilie official ball of the National 
League, and in all games played 
by League Clubs this ball must be 
used. I have no hesitation in 

Eronouncing it the best ball Ij 
ave ever seen. 




(7lV\/fC( 



Secretary of the National League. 



I hereby certify that the "Spalding League Ball," manufactured by 
A. (i. Spalding & Bros., of Chicago, has been adopted as the official ball of 
;hc Northwestern League, and must be used in all games played by the 
clubs of our League. I can testify that it was the best ball shown at our 
meeting. 



Secretary of the Northwestern League, Chicago. 



PRINCETON UNIVERSITY. 

I hereby certify that the "Spalding League Ball," manufactured by 
A. G. Spalding & Bros., of Chicago, has again been adopted as the official 
ball of the American College Base Ball Association, and must be used in 
all games ulayed by the clubs of the Association. 



Setrt^ta-ry Ameriian College Bi^se Ball A.«jsociation. 



FOOT BALLS. 




RUGBY AND ENGLISH ASSOC'N. BALLS OF OUR OWN IMPORTATICN. 

Rug^by or oval shape and Association or round Foot Balls are made 
of the best India Rubber Bladder and outside leather case. Warranted 
to stand any climate, and outlast three or more ordinary balls. 

No. 3. 22 inches in circumference, Rug-by or Association each, $3 t;o 

No. 4. 24 inches in circumference, Rugby or Association. ... '* 400 

No. 5. 27 inches in circumferedce.Rugbv or Association " 500 

No. 6. 30 inches m circumference, Rugby or Association " 6 oc 

No. 7. 33 inches in circumference, Rugby or Association. ... " 7 00 



PRICES FOR BLADDERS ONLY. 



Xos, 3 

Each. $1 '50 

Foot Ball Air Pumps 

Thf English Rugby Foot Ball Rules 



$1 7.=; 



$2 00 



6 7 

$3 25 $2 so 

each, $6 00 



THE AMERICAN TOOT BALL. 




The Association or American 
Foot Ball is made of heavy can- 
vas, thoroughly saturated with 

rubber, strong and durable. 

Each. 
No. I. 20 in. in circumference $1 25 
No. 3. 22 in. in circumference 15c 
No. 3. 24 in. in circumference I 75 
No. 4, 26 in. in circumference 200 
No. 5. 28 in. in circumference 225 
No. 6. 30 in. in circumference 250 
No. 7. 33 in. in circumference 275 



RUGBY FOOT BALL- 
OF RULES. 

By mail 15 cents. 



BOOK 



Address, A. C. SPALDING & BROS., 

108 Madison St., Chicago, III. 



THE HECLA BICYCLE. 




The Hecla Bicvcle is the latest and mo=t approved boys' and youths' 
machine now on the market. The wheel- have eteel wire spokes and 
flat iron tires. Front fork.? are made of Bolid malleable iron with eteel 
handle rode, hollow tapered back bone, malleable iron hub, and solid steel 
axle, spring leather seat, no brakes, all main bearings are adjustable. 

In general appearance it resembles the high priced machines. 

PRICKS WITHOUT RUBBER TIRES, 



No. 


Diameter of 
Front Wheel. 


Diameter of 
Hind Wheel. 


Length of Leg. Inside 
Meaeure to Sole of Foot 


Price 
Each. 


1 
2 
3 
4 


28 in. 
32 
36 
42 


14 in. 
14 

18 
18 


23 in. 
25 
28 
30 


$7 00 

9 00 

15 00 

20 00 



Ko larger sizes made. 





PRICES Vr.TU RCBBEU TIRES. 




No. 


Diameter of 
Front Wheel. 


Diameter of 
Hind Wheel. 


Length of Leg. In.«ido 
Measure to Sole of Foot. 


Price 
Each. 


IR 
2R 
3R 
4R 


28 in. 
32 
86 
42 


14 in. 
14 

18 

\8 


23 la. 
85 
28 
30 


Z12 5(1 
18 00 
25 00 
35 00 



No larger sizes made. 

Prices of the Fairfield, Otto, and all the leading youths' 
furnished upon application. Addr<;;6, 



Bicycl( 



A. G. SPALDING & BROS., Sole Agents, 

108 Madison Street, CHICAGO, \Lh. 



GIFFORD BROS'. HOME GYMNASIUM, 

HEALTH EXERCISING APPARATUS. 

Adapted for Families, Colleges, Schools and Invalids, and for the Weak and 
Strong of all Ages and both Sexes. 

It Stands Firmly in Four Feet Space without being Attached to the Wall. 

Exercises Every Muscle In the Body. 

Combininpf in one apparatus a perfect. Kowinjc Machine, wilh patent retard pulleys 
and weij^hts; Chest Bars; Pullinj^^ Weij^hts; Horizontal liars; Chest Weij^hts: Tra- 
peze; Parallel Bars; Hand Roller; Sprinj^ Board; Curved Board; Postural Board; 
St'<mach and Back Roller; Striking- Bn^: Leg^ W'eij^^hts, and Health Lift; also an 
Adjustable Desk or 'lable, Child's Swing and Blackboard. It makes a perfect Easel 
for Artists or Students. The illustrations on the adjoinin}^ paj^fc show only four of the 
many combinations and exercises, 'ihe sini|)licity and ease by which the rhanjces are 
I' ade for the diUerent exercises, is one fd'its < hicf merits. 

We furnish with the Apparatus an Illustrated Manual of Exercise, giving full par- 
t ciilars about its use. pointinn out £nd explaining many exercises and movements that 
are NEW and ORIGINAL. ' I'KK;!-: L.IKT. 

Gifford'ii Home Gymnasium Apparatus, combining a 
greater number of movements, both preventative and cura- 
tive of disease, than can be obtained from the use of Twelve 
separate machines, each requiring as much room as this ap- 
paratus. It includes the following, viz: Rovjing Machine^ 
Chest Bars^ Horizontal Bars, Pulling Weights, Curved Board 
(for Back Chest, Neck and Abdominal Muscles), Leg 
Weights, Bicycle Motions, Health Lift, Trapeze and Spring 
Board. 

No. A. Main Apparatus, small size (2 ft. x 22 in. 
vs'ide, 6 ft.3 in. high), combining all above exercises $30 00 

No. B. Main Apparatus, large size ( 3 ft. x 22 in. 
wide, 7 ft. 6 in. high), combining all above exercises 35 00 

Three pairs of Dumb Bells with above machine. Extra 
Dumb Bells 6 cts. per lb. 

]M:iH€EL.T^A9fEOUf!^ ATTACHMEXTS. 

Parallel Bars, (adjustable to angle or height) $10 00 

Back and Stomach Roller 5 00 

Hand Roller 2 00 

Strikinjf Bag 2 oo 

Tilting Board... - 2 00 

Swing 2 00 

Blackboard 2 50 

Easel Rests i 50 

PRICK L.1ST OF lif^AI^L. APPARATUS. 

Apparatus to stand close to wall, 2 ft. space, combining 
Chest Bars, Pulling Weights $15 00 

Rowing Attachment (with Sliding Seat) and 

Spring Board for Wall Apparatus, extra 5 00 

Note. — A more complete descriptive list of Giflford Bros. 
Apparatus sent to any address upon receipt of three cent 
Ktamp. 



r^ 




Curved Board for Back and Chest. Horizontal Bar and Weig^ht Exercitjc- 

GIFFORD BROS'. 

^^ iKJ.MK GYMN 

or Heal Exercinm 

Making over 20 CO 

The Wost Complete Thing 
invented, 

A. C. SPALDING 

Solf; Man'jfactu'trrs and 
108 WJadison St 





lio-.vuiji Miuciiuit. 



Jbxerclbc for the AUJominal Muscl< 



■ 1880' ■ 







. 6. mum i mi 



Manufacturers and Dealers in 

BASE BALL SUPPLIES, 
CRICKET GOODS, ARCHERY, 
LAWN TENNIS. CROQUET, 
FISHING TACKLE, 
BICYCLES, SKATES, 
FOOT BALLS, 
INDIAN CLUBS, 
BOXING GLOVES, 
DUMB BELLS, 
FLANNEL UNIFORMS, 
ATHLETIC SHOES, 

GYMNASIUM, BOATING, THEATRICAL, 



General Sporting Goods. 

" S/>alcfif!jOr\<; 'Journal of A^nerican 
Sfcrls,"" a sixteen-page illustrated paper, 
devoted to outdoor sports, mailed free to 
avy address upon applicatiofi. 



Factory at Hastings, Mich. 

ADDRESS 

108 MADISON ST., 



i 

i 

i 



ifill 



